Encore 4: 2016-2017 by Jax Symphony

THE MAGAZINE OF THE JACKSONVILLE SYMPHONY

TA K I N G A W E L L - D E S E R V E D B O W

JAXSYMPHONY.ORG

Apr-May 2017

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WELCOME! Insight One hour prior to each Florida Blue Masterworks Series concert, join Music Director Courtney Lewis and other Masterworks guest conductors in Robert E. Jacoby Symphony Hall to hear their insight on the program. An open, low-key 15 to 25 minute presentation including question and answer time will provide the opportunity to learn more about the fantastic works performed by the Jacksonville Symphony.

As we celebrate the twentieth anniversary of Jacoby Symphony Hall this spring, our thanks goes out to those men and women whose generosity and leadership made our world-class performance venue possible. However, as much as the hall has shaped the Jacksonville Symphony of today, the greatest impact has come from the many talented musicians who have graced our stage over the past 67 years. At the end of this season, nine musicians, who combined have contributed more than 350 years of service to the Symphony, will retire. While all of us at one point will decide it’s the right time to turn to a new chapter of our lives, I’ve always found this a particularly difficult decision for musicians. Being a musician isn’t a job; it’s a way of life. It’s who we are. Our instruments are extensions of ourselves. So while you will no longer see these nine artists on stage every week, I can guarantee that they will continue to be members of the Jacksonville Symphony family. You will see them in the community, in the hall and perhaps even back on stage from time to time.

Guest artists often join the conductor to give their vision of the works to be presented. Insight is a new angle on the concert experience. You’ll never listen to the music the same way after hearing Insight. So come early, grab a seat and hear what the experts have to say.

INSIGHT

is sponsored by

Speaking of next year, we just announced an incredible line-up of Masterworks and Popular Series favorites for the 2017–2018 season. We kick things off with an opening night Fanfare celebration featuring Sibelius’ Violin Concerto and Tchaikovsky’s great Fifth Symphony. Our 2018 annual gala will feature the lovely and talented soprano Renée Fleming. Other Masterworks highlights include the music of Beethoven, Brahms, Bruckner, Debussy, Dvorak, Haydn, Mendelssohn, Mozart, Prokofiev, Schubert, Schumann, Shostakovich and Wagner.

Tickets: 904.354.5547 Contributions: 904.354.1473 Administration: 904.354.5479 JaxSymphony.org Encore! Production Publisher – Robert Massey Editor – Amy Rankin Graphic Designer – Kenneth Shade Advertising Sales – Caroline Jones Photography – Tiffany Manning, Renee Parenteau Intern – Amy Hadden To Advertise in Encore - Call Caroline Jones at 904.356.0426 or email cjones@jaxsymphony.org. © 2017 Jacksonville Symphony Association 300 Water Street, Suite 200 • Jacksonville, FL 32202

@jaxsymphony

With their departure, auditions for their replacements will take place, and you will notice a number of new faces on stage beginning this fall. The search for Philip Pan’s replacement will take the entire 2017–2018 season, as several qualified candidates compete for the coveted position of Concertmaster of your Jacksonville Symphony.

Our Pops Series will feature the Latin sounds of The Mambo Kings and the swingin’ Big Bad Voodoo Daddy. Principal Pops Conductor Michael Krajewski will present The Doo Wop Project, Magic of the Movies and Crazy Arc of Love. We showcase two movies, both featuring the music of John Williams: Harry Potter and the Sorcerer’s Stone and Raiders of the Lost Ark. We will continue our New Year’s Eve, Holiday and Memorial Day traditions. The First Coast Nutcracker, Handel’s Messiah, Symphony in 60 and Coffee Concerts also return. Finally, we honor our responsibility to be the Symphony of Jacksonville and pride ourselves on serving the entire community through an enhanced roster of diverse programming. While our season will always be anchored by the masterworks of the classical music canon, we are also pleased to expand the palette of repertoire presented on our stage. We’re delighted to hear that so many of you are enjoying these new program offerings. If you ever do find yourself having a negative experience, please let us know so we can make it right. Our patron services team is committed to ensuring that you have a positive night at the Symphony. As Abraham Lincoln said, “You can never please all of the people all of the time.” Art is subjective. It pleases our senses, inspires our imagination, piques our curiosity, questions our existence, reaffirms our beliefs and yes, stirs our soul. To our subscribers, I hope you take advantage of our incredible renewal offers. If you’re not yet a subscriber, please consider the incredible benefits and savings you get by becoming one, and check out the many options we have available. Thanks for an incredible season.

#jaxsymphony

is the official piano of the Jacksonville Symphony Orchestra. 4 JAXSYMPHONY.ORG – APRIL – MAY 2017

Robert Massey President and CEO

EnCORE

THE MAGAZINE OF THE JACKSONVILLE SYMPHONY

2016 - 2017 SEASON

VOLUME 23 – ISSUE FOUR

EVENTS 18

BOND AND BEYOND FIDELITY NATIONAL FINANCIAL POPS SERIES

April 21, 22

TCHAIKOVSKY’S SYMPHONY NO. 6 “PATHÉTIQUE” bestbet SYMPHONY IN 60 SERIES FLORIDA BLUE MASTERWORKS SERIES April 27, 28, 29, 30

53 53

DEPARTMENTS

CANELLAKIS CONDUCTS SHOSTAKOVICH COFFEE SERIES FLORIDA BLUE MASTERWORKS SERIES April 7, 8, 9

BUGS BUNNY AT THE SYMPHONY FIDELITY NATIONAL FINANCIAL POPS SERIES April 1, 2

SGT. PEPPER’S 50TH ANNIVERSARY CELEBRATION COFFEE SERIES FIDELITY NATIONAL FINANCIAL POPS SERIES May 12, 13

JSYO SPRING CONCERT PUBLIX SUPER MARKETS CHARITIES JSYO SERIES May 14

MAHLER’S SYMPHONY NO. 2 “RESURRECTION” FLORIDA BLUE MASTERWORKS SERIES May 19, 20, 21

PATRIOTIC POPS COFFEE SERIES May 26

Welcome

Music Director

Symphony Association Board

Cover photo from left to right:

About the Symphony

9, 25, 58-60

Thank You, Supporters

Back row – Deborah Heller, Jeanne Majors, Peter Wright

12-13

Jacksonville Symphony Musicians

The Cadenza Society

Sound Investment Program

72-73

Volunteer Activities and Events

Jacksonville Symphony Administration

Middle row – Philip Pan, Merryn Corsat, Claudia Minch, Glynda Newton Front row – Lela LaBarbera, Lois Gosa

ENCORE 5

AUGUSTINE ASSET MANAGEMENT CONGRATULATES THE JACKSONVILLE

SYMPHONY

ON A SEASON OF GREAT PERFORMANCES.

SKILLFUL INVESTING IS OUR FORTE. THE

SCALE OF YOUR

SUCCESS IS THE MEASURE OF OURS.

GLOBAL 1551 ATLANTIC BOULEVARD, JACKSONVILLE, FL 32207 (904) 396-6944

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ONE THING IS CERTAIN IN THE FINANCIAL WORLD. The Chartered Financial Analyst® designation is a trusted mark of integrity in today’s financial world. With its rigorous focus on investment knowledge, analytical skill, and ethical conduct, no credential is more highly regarded in the financial industry. CFA Society Jacksonville is a community of investment professionals who promote the ethical and professional standards set by CFA Institute. To learn more about the CFA® designation and CFA Society Jacksonville, visit www.cfasociety.org/jacksonville or contact us at info@jacksonville.cfasociety.org ©2012 CFA Institute. CFA®, CFA Institute® and Chartered Financial Analyst® are registered trademarks of CFA Institute in many countries around the world.

6 JAXSYMPHONY.ORG – APRIL – MAY 2017

EQUITY

MUSIC DIRECTOR Courtney Lewis Music Director, Haskell Endowed Chair With clear artistic vision, subtle musicality, and innovative programming, Courtney Lewis has established himself as one of his generation’s most talented conductors. The 2016/17 season marks his second as Music Director of the Jacksonville Symphony. Previous appointments have included Assistant Conductor of the New York Philharmonic, where he returns on subscription in the 2016/17 season, Associate Conductor of the Minnesota Orchestra, where he made his subscription debut in the 2011/12 season, and Dudamel Fellow with the Los Angeles Philharmonic, where he debuted in 2011. From 2008 to 2014, Courtney Lewis was the music director of Boston’s acclaimed Discovery Ensemble, a chamber orchestra dedicated not only to giving concerts of contemporary and established repertoire at the highest level of musical and technical excellence, but also bringing live music into the least privileged parts of Boston with workshops in local schools.

RENEE PARENTEAU

In the 2016/17 season he will make his debut with the Dallas Symphony and the Royal Philharmonic Orchestra, and return to the Colorado Symphony, Minnesota Orchestra and the New York Philharmonic. Highlights of 2015/16 included debuts with the Hong Kong Philharmonic, Milwaukee Symphony, Royal Flemish Philharmonic, and Colorado Symphony, as well as assisting Thomas Adès at the Salzburg Festival for the world première of Adès’s opera The Exterminating Angel. Lewis made his major American orchestral debut in November 2008 with the Saint Louis Symphony Orchestra, and has since appeared with the Atlanta Symphony, Washington National Symphony, Los Angeles Philharmonic, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Houston Symphony, Rochester Philharmonic, RTÉ National Symphony Orchestra of Ireland, Lausanne Chamber Orchestra, and Ulster Orchestra, among others. Born in Belfast, Northern Ireland, Lewis read music at the University of Cambridge during which time he studied composition with Robin Holloway and clarinet with Dame Thea King. After completing a master’s degree with a focus on the late music of György Ligeti, he attended the Royal Northern College of Music, where his teachers included Sir Mark Elder and Clark Rundell.

ENCORE 7

SYMPHONY ASSOCIATION BOARD OF DIRECTORS Officers

Past Board Chairs

Matthew S. McAfee, Chair David Strickland, Vice Chair & Development Committee Chair Rick Moyer, Treasurer & Finance Committee Chair Elizabeth Lovett Colledge, Ph.D., Secretary Robert Massey, President and Chief Executive Officer

Olin E. Watts, Founding President Wellington W. Cummer Hugh R. Dowling Giles J. Patterson Carl S. Swisher Gert H. W. Schmidt Robert R. Bowen Roger L. Main Charles L. Hoffman Hugh Abernethy Archie J. Freels Harold K. Smith Jacob F. Bryan, III Ira M. Koger J. Shepard Bryan, Jr. Randall C. Berg W. E. Grissett, Jr. B. Cecil West James C. Blanton David C. Hastings Alford C. Sinclair Constance S. Green Arthur W. Milam John H. McCallum Preston H. Haskell Sylvia F. “Tibby” Sinclair J. F. Bryan, IV David W. Foerster E. William Nash, Jr. James H. Winston Robert T. Shircliff Robert O. Purcifull Carl N. Cannon Phillip E. Wright Jay Stein Mary Ellen Smith R. Travis Storey John S. Peyton A. R. “Pete” Carpenter Steven T. Halverson Gerald J. Pollack James Van Vleck R. Chris Doerr Richard H. Pierpont Martin F. Connor, III

Executive Committee Gilchrist Berg, Member at Large R. Chris Doerr, Member at Large Margaret Gomez, Foundation Board Chair Gurmeet Keaveny, Marketing Committee Chair Randall C. Tinnin, DMA, Programming Committee Chair Terry West, Member at Large Gwendolyn “Gwen” Yates, Governance Committee Chair

Board of Directors

Don Baldwin Martha Barrett Karen Bower J.F. Bryan, IV Tim Cost Tyler Dann Barbara Darby, Ed.D. Jack Dickison, ex officio Anne H. Hopkins, Ph.D. Michael Imbriani, ex officio Wesley Jennison Charles Joseph Randolph R. Johnson Susan Jones Kiki Karpen Allison Keller Ross Krueger, M.D. Anne Lufrano, Ph.D. John Malone Pat Manko, ex officio Elizabeth McAlhany W. Ross Singletary, II John Surface Clay B. “Chip” Tousey, Jr. Lowell Weiner, Ph.D. Douglas Worth

Foundation Board Margaret Gomez, Chair Gilchrist Berg R. Chris Doerr Peter Karpen

8 JAXSYMPHONY.ORG – APRIL – MAY 2017

Honorary Directors Ruth Conley David W. Foerster Preston H. Haskell Robert E. Jacoby Frances Bartlett Kinne, Ph. D. Mary Carr Patton Mary Ellen Smith Jay Stein James Van Vleck James H. Winston

Multicultural Advisory Council African-American Council Mr. Mark Chapman Ms. Betty Collier Dr. Barbara Darby Dr. Helen Jackson Mrs. Pamela Prier Ms. Willetta Richie Mr. Henry L. Rivers Mrs. Patricia Sams Ms. Veronica Tutt Ms. Felicia Wilcox Reverend Barry Wright Hispanic-American Council Mrs. Alicia Burst Mr. Rafael Caldera Mr. Gil Colon Mr. Victor Cora Dr. Barbara Darby Mr. Wilfredo Gonzalez Mrs. Maribel Hernandez Mr. Ed Perez Ms. Betzy Santiago

The Jacksonville Symphony gratefully acknowledges some of our most important music makers.

J. Wayne & Delores Barr Weaver

Ruth Conley

Robert D. and Isabelle T. Davis Endowment Fund

The Roger L. and Rochelle S. Main Charitable Trust

State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture.

The Jessie Ball duPont Fund

Audio Visual Logistics

Lighting Design and Consulting

From corporate to concert, making events spectacular.

Event Planning • Corporate Meetings & Events • Audio, Video & Lighting Rentals • Concert Production

PGA TOUR, Inc.

3500 Beachwood Ct Suite 104 Jacksonville, FL 32224 Office: (904) 551-1315 Email: contact@avlproductions.com www.avlproductions.com

The DuBow Family Foundation

Donald C. McGraw Foundation

Valdemar Joost Kroier Endowment Fund

Ann McDonald Baker Family Foundation • Yvonne Charvot Barnett Young Artist Fund • Biscottis • G. Howard Bryan Fund Brooks Rehabilitation • Cummer Family Foundation • Downtown Investment Authority • Drummond Press Jess & Brewster J. Durkee Foundation • Fleet Landing • David and Ann Hicks • The Kirbo Charitable Trust • Martin Coffee Co National Endowment for the Arts • Publix Super Markets Charities • Rice Family Foundation • David and Linda Stein Jay and Deanie Stein Foundation • Carl S. Swisher Foundation • Edna Sproull Williams Foundation • St. Vincent’s HealthCare Stein Mart • SunTrust • Vanguard Charitable-Kessler Fund • Woodcock Foundation for the Appreciation of the Arts

ACOSTA Sales & Marketing • The Ann and Gordon Getty Foundation • Buffet Group USA • Chartrand Foundation Claude Nolan Cadillac • Dana’s Limousine and Transportation Services • Enterprise Holdings Foundation Harbinger Sign • Holland and Knight • JAX Chamber • JAX Chamber - Downtown Council • Brady S. Johnson Charitable Trust The Main Street America Group • Mayse-Turner Fund • Parsley’s Piano • Rayonier Advanced Materials Foundation Rowe Charitable Foundation • Sawcross, Inc. • Scott-McRae Group, Inc. • Shacter Family Foundation • Harold K. Smith Foundation Smoller Scholarship Fund • Stellar Foundation • V Pizza • Wells Fargo • Westminster Woods on Julington Creek • Workscapes A-B Distributors, Inc. • The Community Foundation for Northeast Florida • Cornelia and Olin Watts Endowment Fund Media Partners: WJCT Public Broadcasting • Florida Times-Union

ENCORE 9

Corporate Conductor’s Club Becoming a Corporate Conductor’s Club member gives you the chance to enhance your company’s brand, build business relationships, reward your employees and enjoy exclusive beneﬁts as you foster a reputation for corporate citizenship. You’ll receive vouchers for concert experiences that will include four tickets to any series concert, enjoy complimentary refreshments in the Florence N. Davis Gallery during intermission receptions during your visit, and as a member at the Gold level, valet parking.

2016-2017 Corporate Conductor’s Club BENEFITS

$3,000 SILVER

$5,000 GOLD

CONCERT EXPERIENCES

Four Tickets to Four Concerts

Four Tickets to Eight Concerts

INTERMISSION RECEPTIONS

Four complimentary Intermission Reception vouchers

Eight complimentary Intermission Reception voucher

COMPLIMENTARY VALET PARKING

Not Available

One complimentary Valet Parking pass per concert

YEAR-LONG RECOGNITION IN ENCORE 12-month recognition as “Corporate Silver” in Encore

12-month recognition as “Corporate Gold” in Encore

EARLY ACCESS TO THE ANNUAL GALA

Reserve a table by adding $4,000 to your Membership – $1,000 savings!

DISCOUNT ON SEASON ADS

15% discount on your company’s season-long advertisement in Encore

In addition to these great benefits that all Corporate Conductor’s Club members receive, businesses who join in 2017 as Charter Members will receive special recognition at Symphony Networking Events.

Thank you to our Charter Members: AlcesBull Consulting

SHELTERING THE HOMELESS | HEALING THE ADDICTED

Our programs work because we combine a Christian foundation with the necessary tools to live an addiction-free, independent and productive life.

Connect your company to the Symphony and join today!

More than 70% of adults who complete our

904.354.7779 | Corporate@JaxSymphony.org | JaxSymphony.org/Corporate programs remain clean, sober and employed six

months later, compared to national average of 27%. All of our programs are provided at no cost to the recipient. IN

2016

239,966 DELICIOUS MEALS SERVED

475 SHELTERING THE HOMELESS | HEALING THE ADDICTED

Our programs work because we combine a Christian foundation with the necessary tools to live an addiction-free, independent and productive life. More than 70% of adults who complete our programs remain clean, sober and employed six months later, compared to national average of 27%. All of our programs are provided at no cost to the recipient. IN

2016

71,760

10 JAXSYMPHONY.ORG – APRIL – MAY 2017

239,966

71,760 NIGHTS OF SAFE SHELTER

PEOPLE RECEIVED CASE MANAGEMENT TO EXIT HOMELESSNESS

NEWLY REMODELED HOMES ON OUR MCDUFF CAMPUS

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STUDENTS WITH FULL OR PART-TIME EMPLOYMENT

Providing Hope, Healing and Change Since 1946 426 McDuff Ave. S. | Jacksonville, FL 32254 904-387-4357 | www.crmjax.org

ABOUT THE JACKSONVILLE SYMPHONY

Fresh from the first complete season for both Music Director Courtney Lewis and President and CEO Robert Massey, the Jacksonville Symphony is ready to break new ground and new records for 2016-2017. The 2015-2016 season saw an increase in ticket sales of 9% over the previous year as well as an increase in contributed income of 6%. The Symphony performed for more than 201,000 individuals up from the previous season record of 180,000. New music such as Adés Asyla and new events including bestbet Symphony in 60 and Symphonic Night at the Movies were introduced to the community. A new marketing branding including revised logo, updated website and video program notes emphasize the new direction. The Jacksonville Symphony is one of Northeast Florida’s most important cultural institutions. Founded in 1949, the Symphony is ranked among the nation’s top regional orchestras. The Symphony’s home, Robert E. Jacoby Hall, is considered to be an acoustic gem. Each year thousands enjoy the Symphony’s performances both at Jacoby Hall in the Times-Union Center for the Performing Arts and at venues located throughout Northeast Florida.

The Symphony is also the community’s leader in music education for children, serving four county school districts. Besides offering free tickets to children under the age of 18 for selected concerts and other special youth pricing, there are several programs to foster music education. The Jacksonville Symphony Youth Orchestras, under the direction of Music Director and Principal Conductor Scott Gregg, has a membership of more than 400 and a regular concert schedule. Over the years the Jacksonville Symphony has hosted some of the most renowned artists of the music world including Isaac Stern, Benny Goodman, Duke Ellington, Marilyn Horne, Luciano Pavarotti, Itzhak Perlman, Kathleen Battle, Mstislav Rostopovich and Audra McDonald. This year the Symphony hosted Lang Lang at a February 17 Gala. As a not-for-profit organization, the Symphony relies on the generosity of its donors, patrons and volunteers. For more information about the Jacksonville Symphony, please visit www.Facebook.com/JaxSymphony, follow us on Twitter @JaxSymphony, and on Instagram at JaxSymphony.

ENCORE 11

THE ORCHESTRA

Anthony Anurca

Melissa Barrett

Patrick Bilanchone

Aaron Brask

Andrew Bruck

Katherine Caliendo

SECOND BASSOON CONTRABASSOON

ASSOCIATE CONCERTMASTER

BASS

THIRD HORN

VIOLIN

SECOND HORN

Rhonda Cassano

Kevin Casseday

Laurie Casseday

Christopher Chappell

Tristan Clarke

Naira Cola

BASS

CELLO

ASSISTANT PRINCIPAL SECOND VIOLIN

PRINCIPAL TRUMPET

VIOLIN

Dr. Hugh A Carithers Endowed Chair

SECOND FLUTE

Merryn Ledbetter Corsat

Clinton Dewing

Aurelia Duca

Patrice Evans

Kenneth Every

Betsy Federman

PRINCIPAL VIOLA

VIOLIN

PRINCIPAL SECOND VIOLIN

VIOLIN

PRINCIPAL TIMPANI

CELLO

Ileana Fernandez

Kevin Garry

Anna Genest

Lois Elfenbein Gosa

Derek Hawkes

Deborah Heller

PRINCIPAL KEYBOARD

SECOND PERCUSSION

VIOLIN

SECOND TROMBONE

THIRD FLUTE – PICCOLO

Annie Hertler

Jiayi Huang

Max Huls

Vernon Humbert

Kayo Ishimaru

James Jenkins

The George V. Grune Endowed Chair

VIOLA

VIOLIN

CELLO

PRINCIPAL HARP

PRINCIPAL TUBA

VIOLIN

Cynthia Kempf

Colin Kiely

Ilana Kimel

Mark Knowles

Jonathan Kuo

Lela LaBarbera

VIOLA

VIOLIN

FOURTH HORN

VIOLIN

12 JAXSYMPHONY.ORG – APRIL – MAY 2017

Dana Landis

Jason Lindsay

Stephanie Lindsay

Shannon Lockwood

Todd Lockwood

Charlotte Mabrey

BASS TROMBONE

BASS

VIOLIN

CELLO

ASSISTANT PRINCIPAL BASS

PERCUSSION

Brian Magnus

Jeanne Majors

Steve Merrill

Claudia Minch

Linda Minke

Glynda Newton

CELLO

VIOLIN

PRINCIPAL PERCUSSION

SECOND OBOE ENGLISH HORN

CELLO

VIOLIN

Ellen Caruso Olson

Eric Olson

Brian Osborne

Philip Pan

Joel Panian

Susan Pardue

VIOLA

PRINCIPAL OBOE

THIRD TRUMPET

Isabelle Davis Endowed Chair

THIRD PERCUSSION

VIOLA

CONCERTMASTER

Jeffrey Peterson

Lisa Ponton

Jorge A. PeÃ±a Portillo

Kevin Reid

Marguerite Richardson

Les Roettges

PRINCIPAL TROMBONE

VIOLA

PRINCIPAL HORN

VIOLIN

PRINCIPAL FLUTE

Alexei Romanenko

Sunshine Simmons

Forrest Sonntag

Paul Strasshofer

Piotr Szewczyk

Carol Whitman

PRINCIPAL CELLO

SECOND CLARINET

SECOND TRUMPET

BASS

VIOLIN

The Musicians of the Jacksonville Symphony are proudly represented by the American Federation of Musicians, Local 444.

Backstage Employees are proudly represented by the International Alliance of Theatrical Stage Employees (I.A.T.S.E.) Local 115, Saul Lucio, Business Agent.

John Wieland PRINCIPAL BASS

Peter Wright

Yuping Zhou

PRINCIPAL CLARINET

VIOLIN

ENCORE 13

Tiffany Manning is the official photographer of the Jacksonville Symphony.

Visit her website at www.tiffanymanning.com to see more of her beautiful work.

Music Camp & Festival Prelude Chamber Music Inc

14 JAXSYMPHONY.ORG – APRIL – MAY 2017

NINE SYMPHONY MUSICIANS TAKE A WELL-DESERVED BOW by Richard A. Salkin When the 2016-17 season concludes, the Jacksonville Symphony bids a grateful farewell to nine cherished musicians who are retiring. For some, the transition is just a cesura, a musical pause; for others, it marks a page-turn or even a whole new movement. Together these nine accomplished artists have given Jacksonville audiences a total of 356 years of music-making. “We’re deeply grateful to Claudia, Debby, Glynda, Jeanne, Lela, Lois, Merryn, Peter and Philip for their decades of consistent musicianship and dedication to their craft,” said CEO Robert Massey. “Together and individually they have helped bring the Jacksonville Symphony forward—day by day, season after season—as the region’s premiere cultural institution. They leave a legacy of excellence.” In ensemble playing, musicians put their individuality aside to blend into a cohesive singular instrument, Music Director Courtney Lewis added. “These nine talented colleagues have spent decades bringing their own unique skills and hearts to the singular sound of the Jacksonville Symphony,” he said. “Each has contributed to our sound, our experience and the quality of the music we make. I have been honored to work with them, and I wish them every joy in the next phases of their lives.”

Lois Elfenbein Gosa, violin As the 60’s ended, Lois was excited to receive a contract to play with the Jacksonville Symphony. But before she could get here, the season was canceled. Nevertheless, she persisted: “I came anyway,” she said, and her decadeslong career blossomed. Born in Newark, New Jersey and raised in North Miami Beach, Lois was adaptable and tenacious from the beginning. “I played violin first and was studying piano,” she said. But at Miami Dade Junior College, “the orchestra director needed more viola players and offered me a scholarship to switch.” She went on to study violin at Florida State University.

Jeanne Majors—to play at the funeral of Alice Sager, a Symphony concertmaster, who was a beloved mentor to them all. Looking ahead, Lois said, “The music always goes on. I’ll always be making music. I also have some private students I’ll continue with.” But family tops her priority list. She’s looking forward to spending time with her husband, mother, children and grandchildren.

Deborah Heller, flute and piccolo The highest notes usually come from the piccolo, and local audiences can thank Deborah for 42 years of them. With a degree in flute performance from FSU, she plays flute and piccolo.

She’s married to Dale Gosa, a former bassist with the Symphony currently pursuing a career as a luthier, repairing and restoring stringed instruments. Lois is also the mother of four children: David, Rebecca, Andrea and Elizabeth.

As a professional musician, she enjoys “a better than front row seat at concerts.” Reflecting on her retirement, Deborah said “I feel privileged to have been a member of this orchestra and to have been a part of the evolution into an outstanding ensemble.”

Rebecca followed in Lois’ footsteps and plays violin professionally. In fact, one standout moment was when they were stand-mates in a 2002 Starry Nights concert featuring Trisha Yearwood. Two years earlier, Lois joined with two of her daughters— Rebecca and Elizabeth—as well as retiring Symphony violinists Glynda Newton and

She’s keenly aware that people are often surprised at the quality of the Symphony’s performances. “People come to Jacksonville and experience shock and awe at what this orchestra can do. I wish the best to my dedicated colleagues as the bar continues to be raised.”

On a personal note, she adds “I want to thank my colleagues in the Jacksonville Symphony flute section, always supportive, and with whom I share a lifetime of musical memories.” Also on a personal note, Deborah advocates against the use of earbuds. “I would like to turn down the decibel level of modern life,” she said, urging people to avoid “the constant strafing of our eardrums.” Deborah has rich and varied interests that don’t involve music. She enjoys swimming and snow skiing, along with “reining in Mother Nature (i.e. yard work) on our property, care and feeding of two dogs and a horse, and exploring state parks and forests on horseback.” Her bucket list includes an equestrian tour of Ireland.

Lela LaBarbera, violin The first time Lela LaBarbera heard Rachmaninoff’s massive second symphony, she fell asleep. Today, “though I’ve heard a lot of great performances over the years, it’s my favorite,” she said. “At first I thought it was boring, but I’ve recognized what a great piece it is.” Born and raised in Dallas, Lela earned Bachelor’s and Master’s degrees in violin performance at the University of North Texas. “I was on the concert piano path when I was in high school,” she recalled, ENCORE 15

but the demanding travel schedule seemed like a downside. “I realized I didn’t want to devote my whole life to giving concerts. So I decided to become a symphony violinist. I could play professionally and still have a family life. That worked out really well.” She and her husband Marty have a blended family of four children, ranging between age 17 and 39. “We have these two adorable Siberian Huskies and love them to death,” she said. “I love to cook and take 3-mile walks several times a week.” Lela has a full life, with no radical changes planned after she retires. “I do love my church,” she said, “and I’m thinking about becoming more involved in the music there.”

As she approaches retirement after 50 years in the orchestra, Jeanne will have a lot of activity on her plate. “I have projects around my home, which my parents built and I have lived in nearly always,” she said. And “I will continue to teach a few students.” She’ll also remain active in the Prelude Chamber Music Camp and Festival, an organization she cofounded in 2002 to teach children and adults the joy of chamber music. She’ll be traveling extensively, too. “I have been lucky to travel quite a bit over the years. I look forward to exploring new parts of the world. This summer I am headed to Iceland for a true change of scenery.”

Claudia Minch, oboe & english horn Jeanne Majors, violin Jeanne led the second violin section as its principal player for about three decades, an experience she described as “my special joy,” before stepping down into the section. She also appreciates the opportunities over the course of her career to work with “so many musical directors (John Canarina, Willis Page, Roger Nierenberg, Fabio Mechetti, and now Courtney Lewis) as well as the fine guest conductors and outstanding performing artists over the years. I am very grateful to have a life’s career making music with so many colleagues.” Her association with the Symphony started early. During her junior year in high school, Jeanne was concertmaster of the Jacksonville Symphony Youth Orchestra, and she still has fond memories of soloing in a 1964 performance of Bach’s A-minor Violin Concerto. One of the colleagues who was most helpful was former violinist Alice Sager, “one of the original members of the Symphony, a wonderful guide and mentor to so many of us who joined the orchestra in the mid 60’s and afterwards. She was always willing to impart special encouragement.” When Sager passed away in August, 2000, Jeanne was one of five violinists who performed at her funeral.

16 JAXSYMPHONY.ORG – APRIL – MAY 2017

After 38 years with the Symphony, Claudia looks forward to “spending more time with my 90-year-old parents, who still attend as many concerts as they can...traveling to see family...and spending more time with my hobby restoring antique dolls.” Claudia plays oboe and its instrumental cousin, the English Horn, which is similar but has a more haunting tone. Among Claudia’s most memorable moments with the Symphony: “the nine Decembers that my daughter danced in the Nutcracker while I performed in the pit below; when we had Tom Stacey, English Horn player from the NY Philharmonic, as a soloist; when Victor Borge sat 10 feet away from me at the piano at the age of 91, doing his shtick.” More recently, audiences had a chance to savor her playing during a Masterworks concert earlier this year—the program that included the Berlioz Roman Carnival Overture and the Ravel Piano Concerto. Both have notable English Horn solos. “It was probably one of the most emotional times for me,” she said. “These are beautiful solos, difficult in different ways, one with a rich, noble and somber voice and the other with a warm, dreamy and plaintive tone that goes on and on. I love playing both of these solos because they are so expressive and passionate.”

Glynda Newton, violin Music performance runs in Glynda Newton’s family. She’s married to Cliff Newton, who played principal trumpet with the Symphony for 32 years. Her mother played violin. So did her grandmother, for whom she was named. “She was a soloist with radio orchestras and social orchestras in the 1920’s and 30’s, traveling up and down the east coast,” she said proudly. “I have her violin, and it’s very well-traveled. It was an extraordinary thing she did.” Both of Glynda’s children played in the Symphony’s Youth Orchestra. At a MajorMinor concert under Roger Nierenberg, she recalled, “we were all on stage together. My daughter did the Vaughn Williams Oboe Concerto.” For Glynda, there’s something deeply rewarding about being at the center of the sound. “You feel the vibrations of all the instruments, you feel the music, through the floor and all around you. It’s an exquisitely wonderful experience.” She still remembers when the Symphony performed Stravinsky’s Petrushka under Willis Page. “Cliff played the part of Petrushka—a big part, that was wonderful,” she said. Another memorable time was the 1988-1989 season with Nierenberg conducting. “I had the opportunity to play with Luciano Pavarotti, Kiri Te Kanawa and Frederika Von Stade, all in the same season.” Glynda is undecided about her next career. “I have so many interests, it’s hard to narrow them down, she said. “I’ll definitely be promoting and performing with my salon orchestra, the Palm Court Society Orchestra.” There’s also some travel in her future. She and Cliff are fond all things French, including the cuisine and culture, and they’re planning a trip there this summer.

Merryn Ledbetter Corsat, principal viola

Peter Wright, principal clarinet

Philip Pan, concertmaster

“Music is all I ever wanted to do,” Merryn said. Like many other musicians, she has played more than one instrument over the course of her career. She first joined the orchestra in 1968 as a violinist while studying piano at Jacksonville University. Six years later, she left to pursue a Master’s degree at the University of Wisconsin, Madison, where she switched to viola.

Peter has held the same remarkable post since 1975. That year “I was a senior at Jacksonville University when Willis Page hired me to be Principal Clarinetist,” he said. “I had just turned 20 and was fortunate to have played a few concerts the season before on auxiliary clarinets. I guess I had a good audition, since he took a chance with a youngster.”

There’s more to being a Concertmaster than walking onstage and cuing the oboist to play an A. Philip has played “a constantly evolving role requiring continuing diligence as to how to best serve the conductor, one’s section, and the orchestra as a whole.”

She returned to Jacksonville in 1978 and re-joined the Symphony as a violist. “I prefer to think of the viola as the voice of the soul,” she remarked, “rather than a show-off.” Two years later, “the principal chair opened up, and I won the audition,” she said. While she still holds that position, Merryn has also served in various administrative roles, including Orchestra Committee Chair, Union Steward, Director of Orchestra Operations, and Personnel Manager. Reflecting back, a few concerts stand out. “The most challenging piece I have encountered is the solo variation in Ginastera’s Variaciones Concertantes. It is full of awkward double stops and arpeggios that don’t bring out the best of the instrument or the player. The most rewarding concert for me, personally, was the opportunity to perform Strauss’ Don Quixote,” a tone poem that casts the solo viola as Sancho Panza. But her most memorable performance was with Luciano Pavarotti, in January, 1989. “He was truly a presence.” Merryn enjoys walking, jogging and cycling along the Baldwin Trail. “After retiring, I look forward to traveling with my husband. We have a small travel trailer, and have taken it to Montana and Wyoming several times, and once all the way to Alaska! I also look very much forward to having weekends off!”

The intervening years have been filled with miraculous music (Bartok’s Miraculous Mandarin remains “the most difficult piece I’ve played with the orchestra.”); throughout his career Peter has soloed with the Symphony 12 times, in concertos by composers as diverse as Mozart, Rossini, Weber, Debussy, Finzi, Copland, Bozza, and Artie Shaw. To celebrate his 30th anniversary season, in 2005, Peter soloed in the world premiere of Collateral Damage, a Concerto for Clarinet & Orchestra by Nikola Resanovic—a performance he rates as his most epic, partly because the composer was in the audience. Other stand-out moments in Peter’s career include dining with Benny Goodman after his concert with the orchestra in 1976, and participating in the Symphony’s Carnegie Hall performance (1998). One of the most emotional moments was when we lost our orchestra manager, Cecil Cole, to cancer. One of the most rewarding was when Jacoby Symphony Hall opened twenty years ago. Peter is an avid runner, a Jaguars fan, and also a varsity-level roller coaster enthusiast. He’s looking forward to “riding more coasters and checking out this thing called Netflix.”

He has also served often as the Symphony’s own resident violin soloist. “My favorite performances have been the more unusual repertoire,” he said, “such as Stravinsky’s Apollon Musagete and Lutoslawski’s Chain One.” Modern works have presented the greatest technical challenge: “Atonal contemporary works are less familiar to our diatonically trained ears, so require much more drilling and practice time. Many contemporary works also tend to have extremely complex and unusual rhythms.” In all aspects of life, Philip has varied tastes and interests. He was a featured member of Canary in the Coalmine, an American folk band, and he enjoys Mozart’s violin concertos as much as albums by Grandpa’s Cough Medicine. When he’s not practicing or performing, he enjoys activities as varied as running, hiking, cooking, skiing, fencing, tinkering with cars, studying philosophy and all things mechanical. Of all the memorable performances in his career, perhaps the funniest occurred “many years ago, under a tent at Concert on the Green,” he related. “A gigantic flying cockroach that had been circling the tent ceiling landed on the shoulder of Ken Every, our timpanist. He was right in my line of sight. Ken (who is very athletic), let out a shriek, jumped over a chair and ran out of the tent, drumsticks waving in the air! Somehow we all kept on playing and made it to the end of the 1812 Overture, though I had tears streaming down my cheeks from suppressed laughter.” Philip said he’ll miss sitting with fellow violinist Melissa Barret, “my longtime co-pilot and friend.” He’s looking forward to “having my evenings and weekends back, seeing other shows, going out with friends and giving my violin-playing body parts a break.” ENCORE 17

POPS SERIES Saturday, April 1, 2017 l 7 pm Sunday, April 2, 2017 l 3 pm

THE PROGRAM

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

ACT I

WARNER BROS. STUDIO PRESENTS

BUGS BUNNY AT THE SYMPHONY II Starring BUGS BUNNY Conducted by GEORGE DAUGHERTY Created and Produced by GEORGE DAUGHERTY & DAVID KA LIK WONG Also Starring ELMER FUDD DAFFY DUCK PORKY PIG WILE E. COYOTE ROAD RUNNER TWEETY SYLVESTER PEPE LE PEW PENELOPE PUSSYCAT GRANNY GIOVANNI JONES . . . and special guest starring appearance by TOM AND JERRY Music by CARL W. STALLING MILT FRANKLYN SCOTT BRADLEY Based on the Works of Wagner, Rossini, von Suppé, J. Strauss II, Smetana, Liszt, Mendelssohn, and Donizetti Animation Direction by CHUCK JONES FRIZ FRELENG ROBERT CLAMPETT TEX AVERY ROBERT McKIMSON ABE LEVITOW WILLIAM HANNA JOSEPH BARBERA Voice Characterizations by MEL BLANC ARTHUR Q. BRYAN as Elmer Fudd JUNE FORAY HANS CONRIED and NICOLAI SHUTOROV as Giovanni Jones “Rabid Rider” and “Coyote Falls” Directed by MATTHEW O’CALLAGHAN, Music by CHRISTOPHER LENNERTZ Produced in Association with IF/X PRODUCTIONS SAN FRANCISCO Official Website www.BugsBunnyAtTheSymphony.net Original Soundtrack Recording on WATERTOWER MUSIC www.watertower-music.com Follow Bugs Bunny At The Symphony on Facebook, Instagram, and Twitter! Post your own concert photos with the hashtag #BugsBunnyAtTheSymphony

Saturday concert sponsored by The Jacksonville Symphony Guild Students at the Symphony is supported in part by The DuBow Family Foundation Support for Symphonic Night at the Movies is provided by

Audio Visual Logistics Lighting Design and Consulting

From corporate to concert, making events spectacular.

Support for Sunday’s concert, Scout Day, is provided by

Event Planning • Corporate Meetings & Events • Audio, Video & Lighting Rentals • Concert Production

THE DANCE OF THE COMEDIANS from “The Bartered Bride” by Bedrich Smetana THE WARNER BROS. FANFARE Music by Max Steiner “MERRILY WE ROLL ALONG” (“The Merrie Melodies Theme”) Music by Charles Tobias, Murray Mencher, and Eddie Cantor, Arranged and Orchestrated by Carl W. Stalling “BATON BUNNY” Music by Milt Franklyn Based on the Overture to “Morning, Noon, and Night in Vienna” by Franz von Suppé Story by Michael Maltese Animation Direction by CHUCK JONES and ABE LEVITOW “SHOW BIZ BUGS” Music by Milt Franklyn “Jeepers Creepers” by Harry Warren and Johnny Mercer “Those Endearing Young Charms” Irish Folk Melody, words by Thomas Moore Story by Warren Foster Animation Direction by FRIZ FRELENG “RHAPSODY RABBIT” Music by Carl W. Stalling Based on “Hungarian Rhapsody No. 2” by Franz Liszt Piano Solo performed by Jakob Gimpel Story by Tedd Pierce and Michael Maltese Animation Direction by FRIZ FRELENG

Production Touring Musicians (Rotating) Jo Pusateri, Principal Percussion and Slide Guitar Kelly Hale, Principal Pianist Leo Marchildon, Co-Principal Pianist/Slide Guitar Keisuke Nakagoshi, Co-Principal Pianist Brenda Vahur, Co-Principal Pianist

Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of3500the Jacksonville Symphony. Beachwood Ct Suite 104

18 JAXSYMPHONY.ORG – APRIL – MAY 2017

Jacksonville, FL 32224 Office: (904) 551-1315 Email: contact@avlproductions.com www.avlproductions.com

Robert Schietroma, Principal Percussion Emeritus

”JOHANN MOUSE” (Scenes) Music by Scott Bradley, after Johann Strauss II Piano Solos by Jakob Gimpel Narrated by Hans Conried Story and Animation Direction by WILLIAM HANNA and JOSEPH BARBERA and “TOM AND JERRY IN THE HOLLYWOOD BOWL” Music by Johann Strauss II (Overture to “Die Fledermaus”) Music Originally Arranged by Scott Bradley Story and Animation Direction by WILLIAM HANNA and JOSEPH BARBERA “BACK ALLEY OPROAR” (Scene) Music by Carl W. Stalling “Largo Al Factotum” by Gioachino Rossini from “The Barber of Seville” Story by Michael Maltese and Tedd Pierce Animation Direction by FRIZ FRELENG “ZOOM AND BORED” Music by Carl W. Stalling and Milt Franklyn Based on “The Dance of the Comedians” from “The Bartered Bride” by Bedrich Smetana Story by Michael Maltese Animation Direction by CHUCK JONES

ACT II “RABID RIDER” Music by Christopher Lennertz Executive Producer: Sam Register Story by Tom Sheppard Animation Director by MATTHEW O’CALLAGHAN and “COYOTE FALLS” Music by Christopher Lennertz Story by Tom Sheppard Executive Producer: Sam Register Story by Tom Sheppard Animation Direction by MATTHEW O’CALLAGHAN “LONG-HAIRED HARE” Music by Carl W. Stalling after Wagner, von Suppé, Donizetti, and Rossini Story by Michael Maltese Animation Direction by CHUCK JONES “ROBIN HOOD DAFFY” (Scenes) Music by Milt Franklyn Story by Michael Maltese Animation Direction by CHUCK JONES

“WHAT’S OPERA, DOC?” Music by Milt Franklyn Based on music from “The Flying Dutchman,” “Die Walküre,” “Siegfried,” “Götterdämmerung,” “Rienzi,” and “Tannhäuser” by Richard Wagner Story by Michael Maltese Animation Direction by CHUCK JONES MERRIE MELODIES “THAT’S ALL FOLKS!” Music Arranged and Orchestrated by Carl W. Stalling Voice Characterization by Noel Blanc

Program Subject To Change Without Notice. LOONEY TUNES and all related characters and elements © & TM Warner Bros. Entertainment Inc. TOM AND JERRY and all related characters and elements © & TM Turner Entertainment Co. WB SHIELD: TM & © WBEI. (s17)

PEPE LE PEW, LE CHANTEUR ROMANTIQUE “FOR SCENT-IMENTAL REASONS” (Scenes) Music by Carl W. Stalling Story by Michael Maltese Animation Direction by CHUCK JONES “A SCENT OF THE MATTERHORN” (Scene) Music by Milt Franklyn “Tiptoe Through The Tulips” Music by Joe Burke, and Lyrics by Al Dubin Story and Animation Direction by CHUCK JONES “SCENT-IMENTAL ROMEO” (Scenes) Music by Carl W. Stalling “Baby Face” Music by Harry Akst, and Lyrics by Benny Davis Story and Animation Direction by CHUCK JONES “THE RABBIT OF SEVILLE” Music by Carl W. Stalling Based on the Overture to “The Barber of Seville” by Gioachino Rossini Story by Michael Maltese Animation Direction by CHUCK JONES

~ Intermission ~

ENCORE 19

George Daugherty, conductor Conductor George Daugherty is one of the classical music world’s most diverse artists. In addition to his 40-year conducting career which has included appearances with the world’s leading orchestras, ballet companies, opera houses, and concert artists, Daugherty is also an Emmy Award-winning/five-time Emmy nominated creator whose professional profile includes major credits as a director, writer, and producer for television, film, innovative and unique concerts, and the live theater. Since 1993, he has conducted over 20 performances at The Hollywood Bowl with the Los Angeles Philharmonic and Hollywood Bowl Orchestra, and an equal number with The National Symphony Orchestra at Wolf Trap. He made his debut with the New York Philharmonic at Avery Fisher Hall at Lincoln Center in May, 2015 in four sold-out performances In 2012, he was appointed Music Director of Ballet San Jose, where he conducted nearly 50 performances per season for the company, with Symphony Silicon Valley in the orchestra pit. This past season, he also conducted a major international gala for the company starring principal dancers from American Ballet Theatre, New York City Ballet, San Francisco Ballet, Boston Ballet, and other major companies. In summer 2013, he made his debut conducting The Russian National Orchestra at the internationally acclaimed Napa Valley Festival del Sol, presiding over the reconstruction of a long-lost Fokine ballet with music by Rachmaninoff, plus an international ballet gala. He has also been a frequent conductor of London’s Royal Philharmonic Concert Orchestra, with whom he first made his debut in Royal Festival Hall, and most recently conducted a 15-city U.S. and Canadian concert tour with the orchestra and guest artists Dame Julie Andrews, Christopher Plummer, Charlotte Church, dancers of the Royal Ballet, and the Westminster Choir and Bell Ringers. As a director, writer, and producer of music-based television programs, Daugherty has created several major productions for the ABC Television Network project, including a primetime animation-and-live action production of Prokofiev’s Peter and the Wolf, which he created, co-wrote, conducted, and directed, and for which he won a Prime Time Emmy Award as producer, as well as numerous other major awards (including an additional Emmy nomination as conductor and music director. Daugherty also received an Emmy nomination for Rhythm & Jam, his ABC television network specials which taught the basics of music to a teenage audience, which he created and produced with David Ka Lik Wong. In 1990, Daugherty created, directed, and conducted the hit Broadway musical Bugs Bunny On Broadway, a live-orchestra-and-film stage production which sold-out its extended run at New York’s Gershwin Theatre on Broadway, and has since played to critical acclaim and soldout houses all over the world. The Bugs Bunny symphonic concert tradition continued when Daugherty and producing partner David Ka Lik Wong launched a new version, Bugs Bunny At The Symphony, in 2010. The current version of the concert, Bugs Bunny at the Symphony II, also created by Daugherty and Wong, premiered in 2013 with world premieres at the Hollywood Bowl/Los Angeles Philharmonic, Houston Symphony, and National Symphony at Wolf Trap.

20 JAXSYMPHONY.ORG – APRIL – MAY 2017

COFFEE SERIES MASTERWORKS SERIES Coffee Series Masterworks Series

Friday, April 7, 2017 l 11 am Friday & Saturday, April 7 & 8, 2017 l 8 pm Sunday, April 9, 2017 l 3 pm

CANELLAKIS CONDUCTS SHOSTAKOVICH

“Insight” one hour prior to each Masterworks concert

By Steven Ledbetter

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

Ludwig Van Beethoven

CANELLAKIS CONDUCTS SHOSTAKOVICH

(1770-1827)

Overture to Goethe’s Egmont, Op. 84 (1810)

Karina Canellakis, conductor Coffee Series Ludwig van BEETHOVEN

Overture to Egmont, Op. 84

Dmitri SHOSTAKOVICH Symphony No. 15 in B major, Op. 141 I. Allegretto II. Adagio III. Allegretto IV. Adagio-Allegretto

8:00 42:00

The Coffee Concert is hosted by the Jacksonville Symphony Guild. Coffee and tea are provided by Martin Coffee Company, Inc.

Florida Blue Masterworks Series Ludwig van BEETHOVEN

Overture to Egmont, Op. 84

Franz LISZT

Les préludes (Symphonic Poem No. 3)

~ Intermission ~ Symphony No. 15 in B major, Op. 141 Dmitri SHOSTAKOVICH I. Allegretto II. Adagio III. Allegretto IV. Adagio-Allegretto

Students at the Symphony is supported in part by: Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

8:00 16:00 20:00 42:00

Goethe’s 1788 historical tragedy Egmont deals with the most illustrious victim of Spanish tyranny in the Netherlands, treacherously seized by the Duke of Alba and executed in Brussels on June 4, 1568. The play, halfway between Goethe’s youthful Sturm und Drang and his mature classicism, was only a middling success. Beethoven’s music, composed for an 1810 Viennese production, keeps Egmont alive, projecting Egmont to the audience as a far more heroic figure than Goethe made him. Beethoven saw the conflict between Egmont and Alba as the clash between good and evil, between liberty and tyranny; in response, he produced music of great force. In the drama’s final scene, the imprisoned Egmont, awaiting execution, sees a vision of Freedom, in the likeness of his sweetheart Klärchen, and awakens emboldened to address the audience in heroic closing words, ending, “And to save all that is dearest to you, fall joyously, as I set you an example.” The poet called for music to break in immediately after these last words, to bring down the curtain with a “victory symphony.” Beethoven’s overture is mostly tense and somber, its overall air of suspense foreshadowing the serious issues of the drama to follow. At the very end of the overture, Beethoven suddenly brings in totally new material for his coda—the “victory symphony” that will be heard again in the last scene. This brilliant F major peroration provides a powerful dramatic lift. © Steven Ledbetter

ENCORE 21

Franz Liszt (1811-1886) Les préludes (1854) The Hungarian pianist and composer premiered his Les préludes in 1854 in Germany. The symphonic poem is the third and best known of the 13 written by Liszt. It flows from reflective to martial to majestic. Liszt was quite popular due to his charismatic personality and good looks. Though a great piano virtuoso and rock star of his day, he was persuaded by his mistress, Princess Carolyne Sayn-Wittgenstein, to give up performing at the height of his career and devote his life to music composition. Les préludes is dedicated to her. Les préludes was composed in 1854 and to it was appended a program note written by Liszt, indicating that the piece is to be considered a musical depiction of a poem by Alphonse de Lamartine. The work on Les préludes actually began in 1844 when Liszt met the French poet Joseph Autran. He set one of Autran’s poems, Les aquilons (The Winds) to music. He also set three more of his poems to

music. Autran was a disciple of French poet Alphonse de Lamartine. Liszt titled Les préludes based on Lamartine’s Méditations poetiques, which describes the life of man from youthful love through the harsh realities of work and war and finally to self-acceptance. An excerpt from the poem accompanies Liszt’s score: “What else is our life than a series of preludes to an unknown song, whose first and solemn notes are intoned by death?” The symphonic poem, of which Liszt was the originator, is a one-movement orchestral composition where the music is related to a literary work, historical event, painting or legend. Symphonic poems as a genre were adopted by many other composers frequently borrowing from traditional forms. Les préludes resembles a sonata form with a slow introduction that transforms into a bold theme. It moves to a martial sounding section, then a loving and finally a pastorale. The main theme appears again in the coda led by trombones and tuba. (From Symphony staff)

Dmitri Shostakovich (1906-1975)

Symphony No. 15 in A, Op. 141 (1971) In the 18 years that passed between the composition of his Tenth Symphony (1953)–considered by many to be his finest symphonic achievement--and the Fifteenth (1971), Shostakovich seemed to turn away from the classical symphonic ideal. His Eleventh and Twelfth symphonies were overtly programmatic, celebrating events in the Russian Revolution. The Eleventh, subtitled The Year 1905, was written for the 40th anniversary of the Revolution and used tunes related to the abortive 1905 “pre-Revolution” that is familiar (if at all) to Americans through the classic Eisenstein film Potemkin. The Twelfth, called The Year 1917, was dedicated to the memory of Lenin. Then came two symphonies that so thoroughly departed from the traditional instrumental ideal that critics asked whether they could be called symphonies at all. The use of voices and texts made of kind of symphonic cantata of Symphony No. 13 (Babi Yar), set to poems by writer Evgeny Yevtushenko, while Symphony No. 14 was the darkest of them all, an orchestral song cycle on the subject of death, setting 11 poems writers as diverse as Apollinaire, Lorca, and Rilke. On the surface, the Fifteenth Symphony seems like a throwback to the older classical ideal–purely instrumental and cast in the traditional four movements. But the character of these movements comes as a surprise, even a shock. The melodic material runs from the simplest diatonic melodies to extremely chromatic passages (treated with a kind of spicy wit); and what are we to make of the quotations from Rossini’s Overture to William Tell and Wagner’s “fate” motif from The Ring of the Nibelung? Clearly, for all its lightness of surface and touches of wit, the essential mode is ironic. The composer is expressing deeper meanings at variance with what appears on the surface. Of course, Shostakovich had learned how to do that over many years. Soviet theory interpreted works of art as political statements, and any artist, in order to survive, had to follow one of three courses: yield entirely to the demands of the State and write cheerful, simple-minded music; give up any hope of a public career and write privately “experimental” music that would be ignored or banned; or follow the

22 JAXSYMPHONY.ORG – APRIL – MAY 2017

Karina Canellakis, conductor Masterworks guest artists sponsored by Ruth Conley Currently entering her second season as Assistant Conductor of the Dallas Symphony, Karina Canellakis has rapidly gained international recognition as one of the most dynamic and exciting young American conductors. She recently made her European conducting debut with the Chamber Orchestra of Europe at the Styriarte Festival in Graz, Austria, filling in for Nikolaus Harnoncourt. Earlier in the season, she also made headlines filling in last minute for Jaap Van Zweden in two subscription concerts with the Dallas Symphony, conducting Shostakovich’s 8th Symphony and Mozart K449 with soloist Emanuel Ax, earning rave reviews. In the 2015/16 season, Ms. Canellakis makes her debuts with the Hong Kong Philharmonic, San Diego Symphony, Detroit Symphony, Cincinnati Chamber Orchestra and at the renowned Grand Tetons Music Festival in summer 2016. As the Assistant Conductor in Dallas, she conducts more than 30 concerts per season with the Dallas Symphony, including innovative programs on the Remix Series, standard repertoire on the “DSO On the Go” series, Youth and Family concerts, and various other concerts geared towards specific audiences in the community. Canellakis is a recipient of a 2015 Solti Foundation U.S. Career Assistance Award. She was also the winner of the 2013 Taki Concordia Conducting Fellowship, founded by Marin Alsop. In 2014, she was the featured guest conductor for the annual commencement concert with the Juilliard Orchestra in Alice Tully Hall, Lincoln Center. She was a selected conductor in the 2013 Lucerne Festival Masterclass with Bernard Haitink, and conducted the Pacific Music Festival Orchestra in Japan, as well as the Tonhalle Orchestra in Switzerland as part of international masterclasses. Already known to many in the classical music world for her virtuoso violin playing, she was initially encouraged to pursue conducting by her mentor Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of their Orchester-Akademie. She plays a 1782 Mantegazza violin on generous loan to her from a private patron. She holds a Bachelor’s degree in violin from the Curtis Institute of Music and a Master’s degree in orchestral conducting from The Juilliard School, where she was the recipient of the Charles Schiff Award for Excellence in Orchestral Conducting, the American Conductors Award, and the Bruno Walter Memorial Scholarship. In addition to Rattle and Zweden, her most prominent mentors are Alan Gilbert and Fabio Luisi. Karina Canellakis was born and raised in New York City. She speaks French, German and Italian, and is equally at home performing all genres of the repertoire. difficult middle course of writing precisely what one wished to express in such a way that the official powers would find it acceptable on the surface while persons of artistic sensitivity could intuit the real, hidden meaning behind it. Shostakovich had on several occasions during a long public career suffered the displeasure of Stalin, with its threat of mortal consequences, over his music. At various times he was hailed as the greatest of Soviet composers or as the most “decadent.” He learned to put a public face on his music and to communicate its real significance only in the notes, not in words, which were too dangerous. The first movement seems to recall the nosethumbing humor of some of Shostakovich’s earliest scores, to recapture a mood not heard since the Ninth Symphony. Shostakovich described the movement,

in the first program notes, as a toy shop at night, but it is a mechanical toy shop without the real warmth of life. There are jokes, but no humor, with mock-military music representing toy soldiers (and the quotation of the famous galop theme from the William Tell Overture. One senses an unspoken irony behind this colorful facade. The slow movement is full of chorales in the brass and a poignant line for solo cello. Later on there is a distinct evocation of the famous “Dead March” in Handel’s Sau – not a musical quotation, but a similar kind of music in the somber, measured pace of a slow melody in two flutes over pizzicato cellos and basses. This leads eventually to a huge orchestral outburst, though the movement dies away in a quiet recollection of the Dead March. The third movement follows directly, linked by a bassoon phrase. It is ostensibly

the scherzo, but its wit is sardonic rather than joyous. Finally the last movement poses the question directly: it opens with the theme of “Fate” from Wagner’s Ring, following that with a characteristic timpani rhythm familiar from “Siegfried’s Funeral March” in the last act of Götterdämmerung. Whose fate is under consideration? Who is the Siegfried here? And there is a hint, too, of Tristan in a threenote phrase (A-F-E) that corresponds to the famous opening of the opera, a motif of “yearning.” The central part of the movement is a passacaglia, a set of variations over an unchanging bass line. In the 20th century this form has come to be used most often to suggest monomania (as in Berg’s Wozzeck and Britten’s Peter Grimes). The theme in question comes from Shostakovich’s own Seventh Symphony, composed while ENCORE 23

the Nazis were starving and bombarding Leningrad in 1941. This musical canvas could be a memorial to the dead of World War II (Russia is full of such monuments) or more generally to all of those who died under Stalin’s brutal regime (in his disputed memoirs, Shostakovich is supposed to have said that the Seventh Symphony was not written only for those who died in the war, but for all who died at Stalin’s hands as well). The recapitulation of the opening material brings a simple but powerful change, when the Tristan theme returns in the major (A-F#-E), lending a bittersweet

quality to its yearning, a desire to linger even in the face of death. Like Mahler’s Das Lied von der Erde, also composed late in life by a composer recovering from serious illness, the Shostakovich Fifteenth Symphony recalls life as both bitter and sweet, yet worth holding on to in the face of the inevitable fact of death. The intermingling of public music-making and personal, private concerns in this work may be relevant not only to the composer, but to each listener as well. © Steven Ledbetter

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Learn more at JaxSymphony.org

The Jacksonville Symphony Association gratefully acknowledges the generosity of the following individuals, businesses and foundations: Gifts to the Annual Fund between July 1, 2015 and March 6, 2017 ∆ Designates a gift in-kind * Designates deceased

PRESIDENT’S COUNCIL $100,000+ BRASS Ruth Conley in memory of Paul Conley Cultural Council of Greater Jacksonville/City of Jacksonville Fidelity National Financial Florida Blue Florida State College of Jacksonville ∆ Mrs. Josephine Flaherty Monica and Bob Jacoby

$50,000 - $99,000 Anonymous gift in honor of the City Rescue Mission Staff bestbet Jacksonville Jessie Ball duPont Fund State of Florida, Division of Cultural Affairs Florida Times-Union ∆ Mayo Clinic Mrs. C. Herman Terry

$25,000 - $49,999 Bob and Lynn Alligood Mr. and Mrs. John D. Baker II Amy and Gilchrist B. Berg AVL Productions ∆ Mr. and Mrs. J. F. Bryan, IV Stephen and Suzanne Day Robert D. and Isabelle T. Davis Endowment Fund Deutsche Bank Chris and Stephanie Doerr Lory and Harold Doolittle DuBow Family Foundation EverBank Haskell Jacksonville Symphony Guild Valdemar Joost Kroier Endowment Fund Anne and Robert Lufrano Magnolia Foundation Mr. and Mrs. Matthew S. McAfee Donald C. McGraw Foundation Mr. and Mrs. Russell B. Newton Jr. Omni Hotel & Resorts ∆ PGA TOUR PwC Regency Centers, Inc. VyStar Credit Union J. Wayne and Delores Barr Weaver Music Education Endowment ENCORE 25

Your table is ready.

Experience the local flavors of Jacksonville at Juliette’s Restaurant. Located in the Omni Jacksonville Hotel, enjoy pre-show dinner or post-show dessert. Or relax with a refreshing cocktail at J Bar. 904-355-6664 • omnihotels.com/jacksonville

26 JAXSYMPHONY.ORG – APRIL – MAY 2017

POPS SERIES Friday & Saturday, April 21 & 22, 2017 l 8 pm

Heavy percussion and brass during these sequences usually does the trick of adding to the sensation of the moment, while keeping the audience from becoming distracted by the unpleasant noise of the actions.

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

BOND AND BEYOND Michael Krajewski, conductor Calvin and Ellen Hudson Charitable Trust Endowed Chair

Debbie Gravitte, soloist *

31:00

NORMAN/BARRY/arr. Tyzik

James Bond Theme

BARRY/arr. Raine

Theme from From Russia With Love

BARRY/arr. Raine

Theme from You Only Live Twice

BARRY/arr. Raine

Theme from Diamonds Are Forever *

HAMLISCH/arr. Raine

“Nobody Does it Better” from The Spy Who Loved Me *

ARNOLD/arr. & orch. Preschel

Suite from Casino Royale and Quantum of Solace

BARRY/arr. Raine

Suite from Goldfinger *

~ Intermission ~ 20:00 SCHIFRIN/arr. Custer

Mission Impossible

CLINTON

Shagadelic Suite: The Music of Austin Powers

SONDHEIM arr. & orch. Preschel

“Sooner or Later” from Dick Tracy *

MANCINI

“Inspector Clouseau Theme” from The Pink Panther

ADKINS/EPWORTH/arr. Smith

Theme from Skyfall *

BARRY/arr. & orch. Tyzik

The Best of Bond

36:00

Bond and Beyond and Students at the Symphony are supported in part by: The DuBow Family Foundation Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

Bond & Beyond Action movies are loaded with exciting music to build the adrenaline in each scene, but there is something special about the elusive nature of spy themed pieces. There is a familiar process that most spy movie fans can expect to experience in the dramatic scores of favorite secret agent films, especially those in the James Bond series. A scene opens with the calm serenity of the strings softly singing a pleasant song. Occasionally, the flutter of a piano, or the whaling of a saxophone are the perfect playful touches. In the background, the steady tap of the drums keeps the intensity

alive. Carrying the soul of the piece is the busy bass, which seems to be humming along in a world of its own. Suddenly, your heart skips a beat as ominous horns sneak in with a dramatic and dominating tune. What is around the corner? What will happen next? Your emotion dangles in suspense as a blend of calm paranoia continues to build with every new sound. During loud action scenes, orchestra music finds its entrance to help cut down on the noise of fighting or a car crash.

The genius behind spy sounds like the James Bond and Pink Panther theme songs is how the music can be played to make a character seem cool while doing something as simple as walking down a street. The same music can be played to draw focus to a critical moment at the peak of the story. Versatility is the key to a successful spy score. John Barry is thought of as the architect of the genre. He helped build the popularity of the James Bond movies by creating a musical storyline to go along with the action-packed films. Because spy movies have many suddenly suspenseful moments, the music has to have the ability to go from smooth pop, to exciting rock or mysterious jazz. Barry blended instruments and techniques from many different styles of music to put together his arrangements and there is no better example of his style than the musical journey found in hits like the theme from Goldfinger and From Russia With Love. There are so many great Bond themes to love. Shirley Bassey’s big voice dominated “Diamonds Are Forever” and, of course, “Goldfinger.” Paul McCartney and Wings added “Live and Let Die” to their tour set delighting concert fans with fireworks in addition to great music. Carly Simon’s anthem, “Nobody Does it Better” was clearly about James Bond. Sheena Easton added “For Your Eyes Only” with a sultry message to the movie’s hero. Most recently, Adele penned “Skyfall” for a Bond thriller. Music creates a nostalgia that is invaluable to the legacy of a film. It only takes a few notes from a song to trigger the memory of a listener’s favorite movie. With the influence of composers like John Barry, Monty Norman, Steve Barri and Henry Mancini, spy music has become a well-respected genre, and it remains an important factor in producing quality television shows and big screen films.

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Hello! Jacksonville

GROUPS OF 10 OR MORE GET A 20% DISCOUNT Plan early! Orchestrate a fabulous group activity with a performance by the Jacksonville Symphony, an experience unlike any other in our community. Whether it’s for entertainment or inspiration, we can arrange a complete event with restaurant and hotel packages or private reception area.

#HereForYou Blue is a ^ Florida

e sor of th proud spon ony. le Symph Jacksonvil

PARKING AND TRANSPORTATION The Times-Union Center is within easy walking distance of several convenient parking locations, including the lot directly across the street.

CALL, CLICK OR VISIT US.

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877-352-5830 Florida Blue is an Independent Licensee of the Blue Cross and Blue Shield Association. 87500 0916 28 JAXSYMPHONY.ORG – APRIL – MAY 2017

Disabled Parking spaces for disabled patrons are located in the CSX lot with a valid concert ticket for that evening’s performance and a handicapped licence plate or hanging decal. For more information, please call Patron Services at 904.354.5547. Subscribers to Masterworks, Pops, Passport, Family or Symphony in 60 Series can purchase series parking vouchers (booklet of ten passes) for the One Enterprise Center Garage (entrance on Pearl Street) for only $40 for the entire season. Discounted single ticket parking is also available in advance for $6 through Patron Services.

Michael Krajewski, Principal Pops Conductor, Calvin and Ellen Hudson Charitable Trust Endowed Chair Known for his entertaining programs and clever humor, Michael Krajewski is “as effective and entertaining a communicator in music as he is in words” according to the Houston Chronicle. Besides his role as Principal Pops Conductor for the Jacksonville Symphony, he is Music Director of The Philly Pops and Principal Pops Conductor of the Houston and Atlanta Symphonies. As a guest conductor, Krajewski has performed with the Cleveland and Philadelphia Orchestras, the Boston and Cincinnati Pops and numerous other orchestras in the United State. His international appearances include Canada, Dublin and Belfast with the Ulster Orchestra, Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and Spain’s Bilbao Symphony Orchestra. Krajewski is the conductor of the video, Silver Screen Serenade, with violinist Jenny Oaks Baker which aired worldwide on BYU Broadcasting. His recordings include two holiday albums with the Houston Symphony and other collaborative programs with such artists as flutist James Galway, Jason Alexander, Art Garfunkel, Wynonna Judd, Kenny Loggins, the Preservation Hall Jazz Band, Pink Martini and Cirque de la Symphonie. He has degrees from Wayne State University and the University of Cincinnati CollegeConservatory of Music. Further training includes the Pierre Monteux Domaine School for Conductors. Krajewski was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony and for 11 years served as music director of the Modesto Symphony Orchestra. When not conducting, he enjoys travel, photography and solving crossword puzzles.

Debbie Gravitte, soloist Debbie Gravitte has had a varied career taking her from the Broadway stage to the symphony hall and points between. She won the prestigious Tony Award for Best Featured Actress In A Musical for Jerome Robbin’s Broadway, along with a Drama Desk Award Nomination as well as the New York Showstopper Award. After making her Broadway debut in the original cast of They’re Playing Our Song, she went on to appear in: Perfectly Frank (Drama Desk Award nomination), Blues in the Night, Ain’t Broadway Grand, Zorba, Chicago, and Les Miserables. Debbie has appeared in the Encore’s series productions of The Boys From Syracuse, Tenderloin, and Carnival at New York’s City Center. Debbie has performed her nightclub act worldwide, from New York City’s Rainbow and Stars, to London’s Piazza on the Park and back home again to Atlantic City. She has sung with numerous symphony orchestras including the National Symphony, Boston Pops, Atlanta Symphony, Cleveland Orchestra, Pittsburgh Symphony, Utah Symphony, St. Louis, Houston and San Diego Symphonies.

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Valentines inVerona

2017 Gala with Lang Lang

Jeanne Winston, Lang Lang and Jim Winston

Molly Curry, Mayor Lenny Curry and Jed Davis

30 JAXSYMPHONY.ORG – APRIL – MAY 2017

Chung-Hae and John Casler

Bob and Lynn Alligood

Robbie Stanley, Debbie Jacoby Snyder, Tim Greene, Cynthia Jacoby Greene, Bob and Monica Jacoby

Gilchrist Berg announced the bold 5-year, $50 million VISION 2020 fundraising campaign. Berg, co-chair, was joined on stage by honorary co-chairs Bob Jacoby and Bob Shircliff, and Carl Cannon, campaign co-chair.

Jensen and Sarah Hande, Steve Williams, Fitz Pullins

Michael Ward, Lang Lang and Jennifer Glock

Wes, Libby and Beth Jennison, Caroline DiQuisto

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Lang Lang performing

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he First Coast Community Music School serves as a notfor-profit, non degree-granting institution dedicated to bringing high-quality professional music instruction to students of all ages, from a broad spectrum of the community in order to enrich the cultural life of the Greater Jacksonville community.

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2017-2018 SEASON

OPENING NIGHT!

2017 Season: February-April Valentina Lisitsa, piano April 8

SEP

Concert in the Park: Jacksonville Brass Quintet Sat: 8pm

FANFARE AN OPENING NIGHT CELEBRATION Courtney Lewis, conductor Charlie Siem, violin

ADAMS The Chairman Dances from Nixon in China SIBELIUS Violin Concerto TCHAIKOVSKY Symphony No. 5

April 15

Valentina Lisitsa

Beth Newdome Fellowship Artists

April 19-20

Closing Gala: Turtle Island Quartet April 23

Jacksonville Brass Quintet

Turtle Island Quartet

Buy Tickets Today for our 16th Season! www.aicmf.com or 904-261-1779

Visit www.aicmf.com for complete information about our entire 2017 season

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JACKSONVILLE UNIVERSITY COLLEGE OF FINE ARTS

PERFORMING ARTS SERIES

The Jacksonville University College of Fine Arts proudly presents the 2016 – 2017 Performing Arts Series! The upcoming season features world-class performances and exhibitions produced by our Dance, Theatre, Music, and Visual Arts divisions including:

Dance • Music • Musical Theatre Theatre • Visual Arts MFA Choreography • MFA Visual Arts

34 JAXSYMPHONY.ORG – APRIL – MAY 2017

For a full list of Performing Arts Series events, please visit www.ju.edu/cfaevents.

SYMPHONY IN 60 SERIES MASTERWORKS SERIES Symphony in 60 Series Masterworks Series

Thursday, April 27, 2017 l 6:30 pm Friday & Saturday, April 28 & 29, 2017 l 8 pm Sunday, April 30, 2017 l 3 pm

TCHAIKOVSKY’S “PATHÉTIQUE” By Steven Ledbetter

“Insight” one hour prior to each Masterworks concert

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

Igor Stravinsky (1882-1971)

TCHAIKOVSKY’S “PATHÉTIQUE”

Concerto in D major for Violin and Orchestra (1931)

Courtney Lewis, conductor Haskell Endowed Chair

Ayano Ninomiya, violin (not on Symphony in 60 Series Concert)

bestbet Symphony in 60 Series Pyotr Ilyich TCHAIKOVSKY

Symphony No. 6 in B minor, Op. 74, “Pathétique”

I. Adagio – Allegro non troppo

II. Allegro con grazia

III. Allegro molto vivace

IV. Finale: Adagio lamentoso

45:00

Florida Blue Masterworks Series Igor STRAVINSKY

Violin Concerto in D major

22:00

Toccata

Aria I

Aria II

Capriccio

~ Intermission ~ 20:00 Pyotr Ilyich TCHAIKOVSKY

Symphony No. 6 in B minor, Op. 74, “Pathétique”

I. Adagio – Allegro non troppo

II. Allegro con grazia

III. Allegro molto vivace

IV. Finale: Adagio lamentoso

45:00

Stravinsky mistrusted virtuosos that tended to be too facile, too inclined to show off sheer technique rather than deeper musical expression. His view was a reaction to the suggestion made in 1931 by his publisher Willy Strecker, of B. Schott’s Sons, that Stravinsky write something for a remarkable young violinist named Samuel Dushkin, whom Strecker admired. Dushkin was a Polish-born musician who had been adopted by an American benefactor, Blair Fairchild, and given training with Leopold Auer. Stravinsky hesitated for two reasons: he doubted that he was familiar enough with the violin to write a really virtuosic part for it, and he was afraid the usual type of “virtuoso performer” would not in any case be interested in playing his piece. A meeting with Dushkin dispelled the latter doubt: “I was very glad to find in him, besides his remarkable gifts as a born violinist, a musical culture, a delicate understanding, and—in the exercise of his profession—an abnegation that is very rare.” In the meantime Paul Hindemith encouraged Stravinsky to undertake the work despite his lack of familiarity with the violin; this could be a positive advantage, Hindemith insisted, since it would prevent the solo part from turning into a rehash of other violin concertos, employing the same old runs and turns of phrase. As the work progressed, Stravinsky would show Dushkin the materials, little by little, as they were composed; the violinist tried them out and made suggestions as to how they might be made easier or more effective for the solo instrument. Whenever Stravinsky accepted one of the suggestions, even a simple change, he would insist upon altering the very foundations accordingly.

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Ayano Ninomiya, violin Masterworks guest artists sponsored by Ruth Conley Winner of numerous prizes including the Walter Naumburg International Competition, Tibor Varga International Competition, Astral Artists National Auditions, Young Performers Career Advancement and Lili Boulanger awards, Ninomiya has appeared recently at the National Gallery of Art in D.C., at Lincoln Center (NYC), in the U.K. and New Zealand, and gave a TEDx talk at the University of Tokyo. Praised for her “deeply communicative and engrossing” (New York Times) recital at Weill Hall at Carnegie Hall, she has performed with orchestras across the U.S., in Switzerland and Bulgaria and has been featured in major halls in Vienna, Paris, Lucerne, Copenhagen, Barcelona, Melbourne, Beijing and Tokyo, among others. She has performed at the Marlboro, Ravinia, Moab, Bowdoin, Skaneateles, Adams (New Zealand), Canberra International (Australia) and Prussia Cove (England) festivals and has been featured on Musicians from Marlboro Festival tours on the west and east coast of the U.S. and France. She was first violinist of the Ying Quartet, with whom she recorded three albums and was Associate Professor at the Eastman School of Music until 2015. In 2015 she joined the faculty of the New England Conservatory of Music. As a recipient of the Beebe Fellowship, she studied in Budapest at the Liszt Academy after graduating from Harvard University and The Juilliard School. She is also a watercolor artist and passionate Aikidoka.

The one thing Stravinsky sought to avoid throughout was the kind of flashy virtuosity of which many romantic concertos—and especially those by violinists—were made. Despite Dushkin’s assistance, the resulting concerto is unmistakably Stravinsky’s own. In the opening Toccata, the woodwind and brass parts predominate so thoroughly and to such bright effect that one is tempted to think that Stravinsky completely omitted the upper strings (as he had done in the Symphony of Psalms a year earlier) to allow the soloist to stand out. Actually the orchestra is quite large (and includes the full body of strings), but Stravinsky scores the solo violin in a wide variety of chamber-music groupings. The result is thus less like a grand romantic concerto, in which the soloist is David pitted against an orchestral Goliath, and rather more like one of the Brandenburg concertos, with the soloist enjoying the role of first among equals. As is often the case when Stravinsky uses elements of an older style in this period, he takes gestures that seem stable and solid— the turn figure in the trumpets right after the opening chords, the repeated eighth-notes— and uses them in different ways, so that the expectations they raise are sometimes confirmed and sometimes denied. What is an upbeat? a downbeat? What meter are we in, anyway? The witty play of older stylistic clichés in a new and unexpected arrangement is one possible meaning of “neoclassic” in Stravinsky’s work. 36 JAXSYMPHONY.ORG – APRIL – MAY 2017

The two middle movements are both labeled “Aria,” a name sometimes given by Bach to predominantly lyrical slow movements. Aria I is the minor-key lament of the concerto, but a gentle one; Aria II is the real lyric showpiece. The melodic lines have the kind of sinuous curve found in an embellished slow movement by Bach. Stravinsky himself commented that the one older concerto that might reveal an influence on his work was the Bach concerto for two violins. His predilection for instrumental pairs hinted at that in the earlier movements, especially the Toccata, but the last movement is most charmingly explicit: after the solo violin has run through duets with a bassoon, a flute, even a solo horn, the orchestra’s concertmaster suddenly takes off on a solo of his own—or rather a duet with the principal soloist—thus creating the two-violin texture of the Bach concerto.

Pyotr Ilyich Tchaikovsky (1840-1893)

Symphony No. 6 in B minor, Pathétique (1893) At the beginning of the 1890s, Tchaikovsky, at 50, feared that he was written out. In 1892 he began a symphony and had even partly orchestrated it when he decided to discard it entirely. But a trip to western Europe in December brought a warm reunion: he visited his old French governess, whom he had not seen for over 40 years.

The two days he spent with her, reading over many letters from his mother and his brothers and sisters, not to mention some of his earliest musical and literary work, carried him off into a deep nostalgia. Soon he was hard at work on what was to become his masterpiece. By mid-February 1893 he wrote to a nephew that the new symphony would have “a program that will be a riddle for everyone. Let them try and solve it.” The orchestration was interrupted until July because he made a trip to Cambridge to receive an honorary doctorate. The Latin citation for the degree appropriately singled out the ardor fervidus and the languor subtristis of his music. When he returned home he began the orchestration and noted in one letter, “It will be...no surprise if this symphony is abused and unappreciated—that has happened before. But I definitely find it my very best, and in particular the most sincere of all my compositions. I love it as I have never loved any of my musical children.” The Sixth Symphony was the last work Tchaikovsky would complete. The premiere on October 28 went well despite the orchestra’s coolness toward the piece, but the audience was puzzled by the whole—not least by its somber ending. Five days later Tchaikovsky failed to appear for breakfast, complaining of indigestion during the night. He refused to see a doctor but that evening his brother Modest sent for medical help anyway. For several days

Tchaikovsky lingered on, generally in severe pain. He died at three o’clock in the morning on November 6. In recent years Tchaikovsky’s sudden death was attributed to an enforced suicide, a fantasy that for a time drove out the longaccepted view that he drank a glass of unboiled water during a cholera epidemic and died of the disease. But he was one of the most famous Russians in the world at the time, and his illness and death were thoroughly documented, almost hour by hour. Most recent scholarship puts accounts of forced suicide in the same category as UFO abductions.

fourth ends dying away (also short). In the end, the program remained the composer’s secret. The symphony’s title came the day after the first performance, when Tchaikovsky’s brother Modest suggested Pathétique. Tchaikovsky seized at once on the suggestion and added it to the score. The title gives a misimpression in English, where “pathetic” has become a debased slang word, almost totally losing its original sense of “passionate” or “emotional,” with a hint of its original Greek sense of “suffering.” And the symphony is, without a doubt, the most successful evocation of Tchaikovsky’s deepest emotions, sublimated into music of great power.

The second movement is simply a scherzo and trio, but it has a wrinkle of its own. Tchaikovsky was one of the great composers of the orchestral waltz; here he chose to write a waltz that happens to be in 5/4 time! According to the conservative Viennese critic Eduard Hanslick: “This disagreeable meter upsets both listener and player.” But the rhythmic twist is more than compensated for by the extraordinary grace of the music, and Hanslick’s prediction that the music would soon be forgotten could hardly have been more wrong. The third movement is a brilliant march, beginning with rushing busy triplets that alternate with a crisp march melody that bursts out into a climactic full orchestral version, a momentary triumph. So triumphant is its close that audiences are sometimes fooled into applauding, thinking the work is over. (It is possible that Tchaikovsky intended to fool us in this way.) The triumph comes to a sudden end with the beginning of the “Adagio lamentoso.” The first theme is divided between the two violin parts in such a way that neither first nor second violin part alone makes sense, but when played together they result in a simple, expressive, descending melody. The second theme, a more flowing Andante, builds to a great orchestral climax exceeded only by the climax of the opening material that follows. This dies away and a single stroke of the tamtam, followed by a soft and sustained, dark passage for trombones and tuba, brings in the “dying fall” of the ending, the second theme descending into the lowest depths of cellos and basses.

Sandro Botticelli’s La Derelitta Nonetheless the speculation was fired in part by the extraordinary expressive richness of the Sixth Symphony, and especially by its finale. In the Fourth and Fifth symphonies he had already offered two views of man’s response to Fate—on the one hand finding solace in the life of the peasants, on the other struggling to some kind of victory. In the Sixth Symphony, Fate leads only to despair. Tchaikovsky never did reveal a formal program to the symphony, though a note found among his papers is probably an early draft for one: The ultimate essence of the plan of symphony is LIFE. First partall impulsive passion, confidence, thirst for activity. Must be short. (Finale DEATH—result of collapse.) Second part love; third disappointments;

The slow introduction begins in the “wrong” key, but works its way around to B minor and the beginning of the Allegro non troppo. It foreshadows the main thematic material (a variant of the bassoon’s opening figure over the dark whispering of the double basses). The climax to which this builds is a splendid preparation for one of Tchaikovsky’s greatest tunes, a falling and soaring melody that is worked to a rich climax and then dies away with a lingering afterthought in the clarinet. An unexpected orchestral crash begins the tense development section, which builds a wonderful sense of energy as the opening thematic material returns in a distant key and only gradually works round again to the tonic. The romantic melody, now in the tonic B major, is especially passionate.

Tchaikovsky’s farewell vision is a somber one, congruent with his own pessimistic view of life. But it is worth remembering— especially given all the stories that whirl around the composer—that his art, and especially the Pathétique Symphony, was a means of self-transcendence, a way of overcoming the anguish and torment of his life. It has sometimes been assumed in the past that Tchaikovsky chose to revel in his misery; but in the Sixth Symphony, at least, he confronted it, recreated it in sound, and put it firmly behind him. © Steven Ledbetter

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MEMBERSHIP BENEFITS Four UpTempo Concert Vouchers Includes UpTempo Block seating

DISCOVER | EXPERIENCE | CONNECT UpTempo young professionals experience the Jacksonville Symphony through concerts, educational activities and social events. UpTempo Events are sponsored by

• Invitations to Monthly Member Experiences • Buy additional tickets to Symphony concerts and Member Experiences for $25 • Discounts to Premier Symphony Events • One year of Symphony Membership Beneﬁts Includes events, discounts and access

MONTHLY MEMBER EXPERIENCES

MEMBERSHIP PRICING

Apr 27, 2017 TCHAIKOVSKY’S “PATHÉTIQUE” SYMPHONY

$225 per household

May 20, 2017 MAHLER’S “RESURRECTION” SYMPHONY

$150 per person

UpTempo members with the Second City cast

GRADUATE PROGRAMS

PROGRAM HIGHLIGHTS

Membership@JaxSymphony.org

PROGRAM OVERVIEW

1 UNF DR. Jacksonville, FL 32224 | (904) 620-2960 | www.unf.edu/coas/music www.facebook.com/UNFSchoolofMusic

38 JAXSYMPHONY.ORG – APRIL – MAY 2017

COFFEE SERIES POPS SERIES Friday, May 12, 2017 l 11 am & 8 pm Saturday, May 13, 2017 l 8 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

JAMES OWEN PRESENTS

CLASSICAL MYSTERY TOUR SGT. PEPPER’S 50TH ANNIVERSARY CELEBRATION

Sgt. Pepper’s 50th!

Michael Krajewski, conductor Jim Owen, guest artist Tony Kishman, guest artist Tom Teeley, guest artist Chris Camilleri, guest artist All songs are by Lennon and McCartney except “While My Guitar Gently Weeps” (George Harrison), “Live and Let Die” (Paul & Linda McCartney) and “Imagine” (John Lennon) Arr. MENDELSON Beatles Medley

50:00

What was once a record made in defiance of becoming the status quo, eventually became an iconic evolution of boys becoming men, of pop idols becoming illusive artists. The years of ‘Beatlemania’ exhausted the famous band and constant touring hindered the creative desires of John, Paul, Ringo and George. Something had to change.

Classical Mystery Tour Sgt. Pepper’s Lonely Hearts Club Band/ With a Little Help From My Friends Lucy in the Sky with Diamonds She’s Leaving Home Being for the Benefit of Mr. Kite When I’m Sixty-Four Lovely Rita Good Morning Good Morning Sgt. Pepper’s Lonely Hearts Club Band A Day In the Life

~ Intermission ~ 20:00 Arr. HEALEY Love is All You Need Performing Selections From the Following: Yellow Submarine While My Guitar Gently Weeps I Am the Walrus Golden Slumbers Live and Let Die Magical Mystery Tour The Long and Winding Road Come Together Ob-la-di, ob-la-da Imagine

50:00

Sponsored by a Special Gift in honor of the City Rescue Mission Staff. Students at the Symphony is supported in part by The DuBow Family Foundation Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

Even 20 years after the release of Sgt. Pepper’s Lonely Hearts Club Band, Paul McCartney couldn’t control himself from his fan-like gushing over the record in a 1987 interview with RollingStone. “God, I really love this album.” Now as the album celebrates 50 years, his sentiment about the record still resonates in the souls of young and young at heart music lovers everywhere.

It was the fall of 1966 when The Beatles decided that a string of sold out concerts would not define their legacy. If they were going to continue together, they had a statement to make about who they were as a band and the depth of their artistry as musicians. The world would soon get that message, loud and clear. After taking a much needed post-tour break, the ‘Fab Four’ came together with a new creative drive to birth what RollingStone would eventually dub, “The Greatest Album of All Time.” Enter, Sgt. Pepper’s Lonely Heart Club Band. In early 1967, listeners got a taste of the soon-to-come alter-ego album with the singles Strawberry Fields Forever and Penny Lane. Due to pressure from management, these tracks did not make the final cut for the Sgt. Pepper’s record. Long time Beatles producer, George Martin, later noted that this decision was the biggest mistake of his career. ENCORE 39

Jim Owen (John Lennon), rhythm guitar/piano/vocals Jim Owen was born and raised in Huntington Beach, California. He gained rich musical experience from his father, who played music from the classics for him on the piano, and from his extensive library of recordings by the great classical artists. Jim began studying the piano at age six, and won honors in various piano performance competitions throughout his teenage years. He was eight years old when he first heard The Beatles, and promptly decided to take up the study of the guitar. His first professional performance as a Beatle tribute artist was at 16. Then, at age 18, he began touring internationally with various Beatles tribute productions, visiting Japan, Korea, China, Canada, Mexico, and much of South America. It has long been Jim’s dream to share with the public live performances of some of the greatest music ever written and recorded, so in 1996, Owen began working on his idea for a new Beatles tribute show with orchestra. Classical Mystery Tour was the result. Most recently, Jim became associate producer of the dance musical “Shag With a Twist,” which premiered in Los Angeles in 2005, and debuted in Las Vegas in 2006.

Tony Kishman (Paul McCartney), bass guitar/piano/vocals Singer-songwriter Tony Kishman was born in Tucson, Arizona where he began his musical career in the early 1970s. Although he had been playing guitar for a number of years, it was not until age 19 that Tony started performing seriously. Kishman’s early influences included Wishbone Ash, Bad Company and Peter Frampton. Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band performing Top 40 as well as originals. Starting in 1979, Kishman played bass and guitar for six years as Paul McCartney in both the national and international tours of Beatlemania. He then went on to perform in Legends in Concert and produced shows that ran in Las Vegas and Lake Tahoe. He joined the classic supergroup Wishbone Ash for a tour of Europe and the recording of the group’s 18th album.

Thomas Teeley (George Harrison), lead guitar/vocals Thomas Teeley has starred as George Harrison in both the Broadway production of Beatlemania as well as the film version. His vocal impersonations of numerous other rock icons have also been featured in many television ads as well as other Broadway productions. He has written songs for artists such as Alice Cooper, as well as touring the world as singer-guitarist for Joe Jackson, Sophie B. Hawkins and many others. Tom still enjoys recreating the classic Beatle recordings in a live performance setting, with an attention to detail, which is his hallmark.

Chris Camilleri (Ringo Starr), drums/vocals Born and raised on Long Island, New York, Chris Camilleri had a convenient drum teacher; his dad. He started listening to Beatles records at a young age, and for many years played drums and sang along to the recordings. Gradually Chris gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the internationally-renowned Beatles cover band Liverpool, which still reunites to perform at the Fests For Beatles Fans (formerly Beatlefest). Chris has played drums for a variety of touring artists, including Peter Noone (of Herman’s Hermits fame), Badfinger, Micky Dolenz, Joe Walsh, and other Beatles-era bands. He became a good friend and musical associate to Harry Nilsson (who was a contemporary and close friend to all the individual Beatles). In addition to The Beatles, his musical influences include Jethro Tull, Genesis, ELP, and David Bowie. When not playing music, Chris has an active commercial and voice-over career. 40 JAXSYMPHONY.ORG – APRIL – MAY 2017

To the dismay of fans all over the globe, the long-awaited album took seven months and over 700 hours to record. Finally, in June 1967, Sgt. Pepper’s Lonely Hearts Club Band was released simultaneously in the U.K. and the U.S. markets, where it sold over 250,000 copies in the first week and quickly went to number one on Billboard charts. Within three months of release, it became the best-selling Beatles album to date with over 2.5 million records sold. There were many controversies within the lyrical content, and critics had a lot to say about the direction the band was taking with their new sound, but record sales did not suffer. The four-time Grammy Award winning album is still one of the bestselling records of all time. Taking influence from The Beach Boys’ Pet Sounds, The Beatles introduced a new style of blending traditional rock with psychedelic tones. They broke all the rules through mid-song tempo changes and overlapping different styles to create a layered depth to their songs. To add to the excitement, a crossfade component was used to fuse one song to the next, leaving the album to sound like a single, live performance. Because Sgt. Pepper’s felt like a concert experience, radio stations would often play the record from start to finish. The attention given to the full record was unprecedented, but some tracks still managed to shine as fan favorites. Hits like When I’m 64, Lucy in the Sky with Diamonds and With A Little Help From My Friends set the tone for a new generation of progressive rock. The track All You Need is Love took off during the ‘Summer of Love’ and was eventually embraced as part of the rallying cry for the ‘Flower Power’ movement. With one legendary album, rock and roll music was forever inspired. Electrifying waves that began with a strum of George’s guitar will continue to wash their influence over generations to come. The beat of Ringo’s drums will carry a pulse through songs that have not yet been created. The creative harmony found between Paul and John will always influence song writers to infuse melodic poetry with imagination. The legacy of Sgt. Pepper’s Lonely Hearts Club Band created a culture of musicians who, whether they realize it or not, will forever follow in the footsteps of four shaggy blokes from London.

Fidelity National Financial, Inc. – Community and Business Leader Fidelity National Financial, Inc. (NYSE:FNF) is a leading provider of title insurance, technology and transaction services to the real estate and mortgage industries, headquartered in Jacksonville, FL. Recognized as an industry leader and ranked #311 on the 2016 Fortune 500, FNF has remained a viable employer and contributor within our local community and in all 50 states for over 30 years. Guided by the highest ethical standards of conduct and a long legacy of service, the FNF family of companies and its thousands of employees nationwide provide a wealth of time, talent and financial support to hundreds of charitable, community, educational and civic causes, including the Jacksonville Symphony.

About Fidelity National Financial, Inc. Fidelity National Financial, Inc. is organized into two groups, FNF Group (NYSE:FNF) and FNFV Group (NYSE: FNFV). FNF is a leading provider of title insurance, technology and transaction services to the real estate and mortgage industries. FNF is the nation’s largest title insurance company through its title insurance underwriters - Fidelity National Title, Chicago Title, Commonwealth Land Title, Alamo Title and National Title of New York - that collectively issue more title insurance policies than any other title company in the United States. FNF also provides industry-leading mortgage technology solutions and transaction services, including MSP®, the leading residential mortgage servicing technology platform in the U.S., through its majority-owned subsidiaries, Black Knight Financial Services and ServiceLink Holdings. FNFV holds majority and minority equity investment stakes in a number of entities, including American Blue Ribbon Holdings, LLC, Ceridian HCM, Inc., and Digital Insurance, Inc. More information about FNF and FNFV can be found at www.fnf.com.

ENCORE 41

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YOUTH ORCHESTRAS SERIES JSYO Spring Concert

Sunday, May 14, 2017 l 5 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

JSYO SPRING CONCERT Scott C. Gregg Music Director, Jacksonville Symphony Youth Orchestras Winston Family Endowed Chair

48:00 Foundation Strings I Elliot DEL BORGO Noah KLASS

Marj Dutilly, conductor Guard of Honor Loch Lomond

Foundation Strings II Rob GRICE Reinhold GLIÉRE Chuck ELLEDGE

Rocco DiGeorgio and Naira Cola, conductors Fire Dragon Mountain Russian Sailors Dance Phantom Dance

Encore Strings Victor LOPEZ Bob MOORE Benoit JUTRAS

Rocco DiGeorgio, conductor Andaluca Estampie Gamelan from “O”

Premiere Strings Franz SCHUBERT Antonin DVORÁK SCHON/PERRY/CAIN

Judith Steinmeyer, conductor Rosamunde Ballet Music No. 1 Three Slavonic Dances Don’t Stop Believin’

Repertory Orchestra Franz von SUPPÉ Camille SAINT-SAËNS

Scott C. Gregg, conductor Poet and Peasant: Overture Samson et Dalila: Dance Bacchanale

~ Intermission ~

The JSYO Spring Concert is the culmination of a year’s worth of instruction and music for the more than 400 children who take part in the program. This year has been particularly exciting in that JSYO has expanded to include a Clay County site for instruction, allowing more children to participate. JSYO is made up of musicians ages 7 to 21 who are admitted through a competitive audition process. Auditions for the 20172018 season have been scheduled for May 30 through June 4 at FSCJ South Campus (Beach Blvd.) and Wehner School of the Arts in Clay County. Deadline to sign up is May 15. Applications for auditions are listed on jaxsymphony.org. The JSYO ensembles are as follows: Foundation Strings I – beginner string students Foundation Strings II – advancing beginner string students Encore Strings – intermediate string students Premiere Strings – advancing intermediate string students Repertory Orchestra – intermediate to advancing full orchestra

20:00

Philharmonic – advanced/pre-conservatory full orchestra

61:00 Philharmonic Scott C. Gregg, conductor John WILLIAMS Music from Star Wars Imperial March (Darth Vader’s Theme) Throne Room and End Title Nicolai RIMSKY-KORSAKOV Scheherazade The Sea and Sinbad’s Ship The Tale of Prince Kalendar The Young Prince and Princess The Festival at Baghdadf; the Sea; the Ship Goes to Pieces on the Rock

is a sponsor of JSYO. Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

ENCORE 43

2017-2018 THE SEASON OF MAGIC

THE MAMBO KINGS BEETHOVEN AND THE BLIND BANISTER HARRY POTTER AND THE SORCERER’S STONE CZECHMATE FABIO, FAURÉ AND FANTASTIQUE THE DOO WOP PROJECT HOME ALONE GERMAN GIANTS HOLIDAY POPS FIRST COAST NUTCRACKER HANDEL’S MESSIAH IT’S A WONDERFUL LIFE NEW YEAR’S EVE LUNACY TCHAIKOVSKY’S PIANO CONCERTO 2018 GALA - RENÉE FLEMING THE MAGIC OF THE MOVIES NOTES FROM THE EMPIRE RAIDERS OF THE LOST ARK SHOSTAKOVICH FIVE STORM LARGE: CRAZY ARC OF LOVE DON GIOVANNI LEGENDS: BILLY HOLIDAY & MORE BRAHMS AND BRUCKNER BIG BAD VOODOO DADDY CLASSICAL CONVERSATIONS REINEKE, RODGERS AND HAMMERSTEIN AMERICAN LANDSCAPES PATRIOTIC POPS TWILIGHT OF THE GODS

Scott C. Gregg, Youth Orchestras Music Director and Principal Conductor Winston Family Endowed Chair Scott Gregg will be in his 22nd year holding the Winston Family Endowed Chair with the Jacksonville Symphony Youth Orchestras (JSYO). He has guided the organization’s growth from a 60-member group to an artistically robust arts education program with more than 300 participants this season. Previously, Gregg served as Music Director for Education of the Jacksonville Symphony; Music Director for the Youth at the Beaches Arts Guild productions; and Music Director for the Summer Musical Theater Experience at Florida State College at Jacksonville. In 2016, Maestro Gregg was named Music Director and Principal Conductor of the St. Augustine Orchestra. In 2006, Gregg helped found the First Coast Community Music School which assists hundreds of Jacksonville music students access top-notch music education. In 2014, he became that school’s Artistic and Executive Director. Once in a youth orchestra himself, Gregg served as concertmaster of the Greater Dallas Youth Orchestra, and made his solo debut with the Dallas Symphony Orchestra at the age of 17. Gregg received his undergraduate degree from Harvard University with a concentration in music theory and composition and minor concentration in astrophysics. He studied conducting at Baltimore’s Peabody Conservatory of Music, where he earned a master’s degree and was awarded the Christopher Percy Prize in Conducting. Concurrently, Gregg was appointed to the conducting staff of the Peabody Conservatory Symphony and Philharmonic Orchestras, as well as Associate Conductor of the Johns Hopkins Symphony Orchestra. He is married to Camille Clement Gregg and the two are the proud parents of their golden retriever, Midas.

Why Should I Subscribe?

If you plan to attend three or more concerts during the upcoming season you should definitely consider a subscription. The benefits you receive are tremendous and add to the already great value the Symphony provides to its patrons. This season you can subscribe by purchasing as few as six concerts. Here are some of the subscriber benefits:

1 2 3 4 5

Big Discounts Subscribers get great discounts versus the price of single tickets. Yours could be as much as 25%. The discount depends on the subscription you select and/or the number of concerts in your Create Your Own subscription.

Free Exchanges Only subscribers can exchange their tickets. And, exchanges are free of charge.

Ticket Fee Waived Subscribers never pay the 15% ticket fee, whether it’s on your subscription tickets or any single tickets you might buy during the season. If you purchase a 12-concert subscription, that’s almost like getting two free tickets.

Discounted Pre-Paid Parking For just $45, subscribers enjoy parking for the entire season (a booklet of 12 passes), a savings of at least $75.

Advance Priority Seating Subscribers are able to purchase the best available seats before they go on sale to single-ticket buyers.

View the season online at JaxSymphony.org ENCORE 45

JSYO Repertory Violin Alyssa Albert Bridget Ausley Alexander Barnett + Julia Butler Mary Carlson Grace Castillo Kismet Field Peter Goricki Katherine Harland Miguel Huertas Gabrielle Keller Ariel Lockley + Nicole Lukens Nora Menon Benjamin Model Anneliese Nguyen Sarah Park Audrey Plauche Hanna Ray Sophia Reed Eden Rewa Jamie Robinson Willmott Alessia Rosa

JSYO Foundation Strings II Samuel Schlenoff Selin Tiryakioglu Elizabeth Whitehead + Viola Russell Greco Avery Palmer Aditi Shandilya Ellison Whitehead + Cello Aaron Dantzler + LaRyn Fagan Noah Hays + Mitchell Henshaw Samuel Iturra Natalie Taunton + Sam Watson Nicholas Willie + Double Bass Christopher Cavaliere Kieran Elwood Ned Franklin +

JSYO Premiere Strings Violin Seth Arcenas Alexia Bartley + Stephanie Baskin Gabriella Caballero Tatiana Caballero Annastasia Cantu + Anne Caraher Carolyn Chen Andrew Chiang Augustina Cole Franchesca Dalugdug Ethan Das Caleb Feng Madison Fisher Audrey Freehafer Elise French Levi French Micah French Katherine Gabriel Addison Hassler Claire Huang Stella Hyatt Michael Kim Jihae Kim Rohini Kumar William Li Audrey Lindsay Victoria Locklin Rachael Lovejoy Marison McDowell Gabriel Miel Matthew Miel Gahyun Park

Kent Peyton Xavier Phillips Ericz Plauche Alexander Roes + Elise Russu Lauren Schawrz Sarah-lyuna Spencer + Mary Clare Stinneford Pilar Thorn Ronak Venkata Leila Warren Viola Ian Adkinson Nathan Oyler Cello Margaret Chalut James Dowell Maggie Frantz Jack Gallishaw Ryan Gear Anamarie Lopez Wills Maw Chasney Stancliffe Double Bass Peter Goricki Volunteer Assistants Kelly Albright Selah Welton

Flute Ainsley Elgin Hanna Kissenger Gabin Park Oboe Mackenzie Ki Margaret Monday Matthew Rowell + Michael Stabile Clarinet Nicole Graham + Brianna Howard William Skinner Bass Clarinet Cordelia Ciuk Bassoon Kaila Peeples + Kylie Wilkins

Trumpet Richard Bachmann Joseph Stancil Horn Michael Flanagan Timothy Kellett Justin Marcotte Kayleigh Owen Trombone Federico Bolano + Georgie Rodriguez Tuba Parker White Percussion Grace Bachmann Matthew Hein Trinity Hootman

JSYO Encore Strings Violin Mary Adams Valeria Aviles Brianna Borbely Jack Camp Ava Cheng Rebekah Chun Sam Cosby Ana Docuyanan Emily Docuyanan Madison Fagan Abby Grace French Katherine Graham Laurence Greene, II + Gloria Honoré + Anna Keller Christian Kim Christine Kim + David Kim + Philip M. Lawson, II Likhita Manchikanti Gabriela Micolucci Alerice Milagrosa Mia Moore Mason Mormino Nate Mormino Abigail Okey Samay Patel Julia Peiris Khobe Pierre + Alyssa Ramesh Grace Randall Laurel Reed Ashkon Shirazi

Aden Speight Rodriquez Shannon Stalford Srikuti Venkat-Ganesh Natalie Watson Kaylin White Mihajla Wickham Kalen Wilkins Enoch Xiao Ethan Xiao Viola Raquel Abril Charlie Doyle Joshua Manuel Jairen Neil-Blake + Janel Neil-Blake + Brendan Roes + Aditya Singh Racheal Stowe Cello Kyle Bae Emily Caraher Lyanne Claudio Jordan Dowell Henry Franklin + Neriah Holley + Kalahni McNair Ian Navaille Finley Petchauer + Julie Remmer Ellie Stewart Roan Wallerius Sina Wegerer-Jones

Violin Aislin Alexander William Bell Tyler Bradley + Ankitha Chintala Nikitha Chintala Skylar Davis Maxim Drexler Jadah Foltz Rex Franklin + Ashley Fuentes Jacob Holyer Nikolus Huff Cates Kean Keller Krieger Kariel Lampkin Benedict Lang Dominic Lang Aleydis Lockwood Garrett McLees Abbygale Monroe Madeline Mormino Giavanna Nagy Amelia O’Neill Chloe O’Neill Mary Patterson Arianna Rahmathulla Emaad Rahmathulla Marissua Redmond Hannah Lydia Sauer

Viola Makayla Artis Justin Berger Melanie Dickson + Taylor Graham McKennah Lanier + Lauren Lanier + Nevaeh Lanier + Allison Pianetta Cello Nathalie Bowen Jackson Brown Alayna Edwards Leo Franklin + Taelyn Graham Amaya Gray + Thomas Karvounis Deckland Lanier + Madison McInarnay Audrey Roes + Water “David” Ulmer Mihajla Wickham

JSYO Foundation Strings I Violin Felisha Cothman Hunter Davis Isaiah Dillon Tayla Epting Nathaniel Hall NaRiya Johnson Leila Jones Kerrington Marshall Randy Martin III Samuel Memon Maverick Mills Rihanna Odol Yasmen Odol Arielle Osorio Alex Parra Sophia Parra Mateo Pinilla Sofia Pinilla JaMaurie Sanders David Stewart Reginald Thomas Grace Vasquez Kylee Waller

+ Denotes Eleanor King Scholarship winners made possible through the Jacksonville Symphony Guild. ++ Denotes the James B. Lay, Sr. Trumpet Memorial Scholarship 46 JAXSYMPHONY.ORG – APRIL – MAY 2017

Chinmay Shandilya Amelia Snodgrass Timur Tiryakioglu Kylea Watson Joya Welch Clement Wurtz

Viola Jadon Brown Talina Fuentes Taylor Graham Louisa Holyer Andrew Keller Grace Lampkin Angelina Rush Christian Thomas Jaylen ThomasBailey Cello Alani Austin Farhad Bagirov Jackson Brown Nicholas Cribbs Leah Lampkin Joshua Mayrand Kalahni McNair Glenn Michael Monserrad Vasquez Double Bass Liam McNew +

JSYO Philharmonic Violin I Noah Arcenas Cameron Black Michelle Dantzler + Glen Dizon Ava Hampton Lark Harrington William Harrington* Anatasia Letkemann ‡ Moriah Lewis Bryce Martin* Olivia Morello Joseph Petchauer + Jessica Rinosa Max Warren Olivai Wright Violin II Arianna Arcenas Allen Barnett + Sadie Butler Lexi Feng Eva Karjono Fiona Lockley + Mira Menon Lara Morello Sadie Pichelmann

A.J. Pulliam Dolaine Qian Oona Roberts Daniel Savo Maxwell Vanhoeij Laura Watson* Viola Breanna Lang Grace Remmer Kaitlynn Thornton Cello Angelo Andrew Hannah Budd Nathan Ealum Wesley Navaille Alejandro Ochoa + Maxwell Remmer* Sophia Schlenoff Darren Wang Double Bass Pete Casseday Sam Watson

* Denotes Principals

Flute Annabelle Gunn Alex McGuire* Jillian Savage + Oboe Derek Alexander Jacob Hutchinson Sammy Park Megan Wojtyla* Clarinet Michael Jenkins* Frank Lukens Ashlie Santiango Bass Clarinet Makobi Marshall Bassoon Sam Watson* Trumpet Patrick Clarke* ++ Carson Brite* Benjamin Gibson

Horn Paola Colón Amanda Friedman* Janet Johnson Joshua Stancil Trombone Kiara Benjamin* Alexis Potter + Ian Wolff Bass Trombone Georgie Rodriguez Tuba Bryce Pierce Percussion Lucas Johnson Zachary Schoonmaker Ignacio Troche Harp Marie Chappell + ‡ Isabelle Scott

‡ Denotes 2017 Young Artists Competition Winners

ENCORE 47

JSYO ASSISTANT CONDUCTORS Judith Steinmeyer, Conductor, Premiere Strings Judith Steinmeyer has been involved with the Jacksonville Symphony Youth Orchestras for many years serving as a sectional coach, audition faculty, co-director of the beginner strings groups and now director for the Premiere Strings. She started her career as a violinist at the U.S. Air Force Band Symphony Orchestra and Strolling Strings at Bolling Air Force Base, Washington, DC. After completion of her military service she performed in venues ranging from the Kennedy Center for the Performing Arts to the Bolshoi Theatre to Carnegie Hall. Steinmeyer was personnel manager and violinist for the Washington Chamber Orchestra for nearly 10 years. She holds a Professional Educatorâ&#x20AC;&#x2122;s Certificate from the State of Florida and currently teaches private violin and viola lessons at the First Coast Community Music School and general music at Holy Spirit Catholic School. She was named one of five artist-educators in Florida to receive the Florida Alliance for Arts Education 2012 Guided Residency Program Award and scholarship. She is a member of the American Federation of Musicians, the Suzuki Association of the Americas, the American String Teachers Association and the America Orff-Schulwerk Association.

Rocco (Rocky) DiGeorgio, Conductor, Foundation Strings II/ Encore Strings

Rocco (Rocky) DiGeorgio has 35 years of experience as an orchestral music instructor. In addition to leading the JSYO Foundation Strings II and Encore Strings, DiGeorgio performs a variety of musical roles in the community. He is founder and director of Jacksonville Suzuki Strings, an ensemble consisting of 60 young musicians from greater Jacksonville. He has also been a guest clinician for Suzuki violin workshops throughout the United States. He also currently serves as Sunday Music Director at San Juan del Rio Church in St. Johns County and conductor for several student orchestras at area private schools. DiGeorgio received his Bachelor of Music Education from Jacksonville University. He resides in Mandarin with his wife Judy and children Antoni and Juliana.

Marj Dutilly, Foundation Strings I Marj Dutillyâ&#x20AC;&#x2122;s career has taken her from the military to JSYO but music has always been the base of her success. A graduate of Immaculata University with a degree in music, she served a tour of duty in Vietnam and was utilized as a music recreation therapist at the National Naval Medical Center in Bethesda. Dutilly has performed with the Ventura (CA) Symphony Orchestra, the North Attleboro (MA) Civic Symphony, the Attleboro Civic Opera Company and the Warwick (RI) Symphony Orchestra. She is Director of Music at Faith Christian Academy, Fernandina Beach and founder/director of SELAH STRINGS of Nassau County. Her work has included assistance with both the JSYO Foundation and Overture Strings as tuning coach and audition judge. She and her husband Ron have six children, one of whom, Peter, was a member of the JSYO Philharmonic Orchestra for six years.

ENCORE 49

John Wieland, Conductor, Woodland Acres Foundation Strings I and II John Wieland, principal bass for the Jacksonville Symphony, will assume additional duties as Assistant Conductor for the Jacksonville Symphony Youth Orchestras in charge of Foundation Strings I and II at Woodland Acres Elementary School. Prior to joining the Jacksonville Symphony, Wieland was principal bass of the Virginia and Oklahoma Symphonies, as well as the Orquesta Sinfonica de Mineria in Mexico City and the Colorado Music Festival in Boulder Colorado. His bachelor’s degree is from the New School of Music in Philadelphia (now part of Temple University) and included studies with Michael Shahan (Associate Principal Bass/Philadelphia Orchestra and (the late) William Smith (Assistant Conductor/Keyboard/Philadelphia Orchestra. Additional teachers include Eugene Levinson/Principal/New York Philharmonic and (the late) H.Stevens Brewster/Principal of the National Symphony. An avid educator, he has taught students from age three up to the university level. He has held faculty positions at the University of Central Oklahoma, Langston University, Bethune-Cookman University and Stetson University. His many former students teach all over North and Central America and many play professionally around the world.

Naira Cola, Conductor, Clay County Foundation Strings I and II Violinist Naira Cola has been playing with the Jacksonville Symphony since 2012. Cola was born and raised in Pensacola, FL and her upbringing was filled with jazz, gospel and soul music. She studied at the Mannes College of Music under the tutelage of Sally Thomas and Dr. Ann Setzer before attending New York University and the Julliard School for her graduate and post graduate studies. Over the course of her career, Cola has received numerous accolades for her unique artistry, including winning the Doris Kahn Concerto Competition, being a semi-finalist in the National Sphinx Competition and being awarded the Artist Award from the New York Foundation for the Arts. As a soloist, she has been featured on NPR radio, WUWF Classic radio and WEAR TV. She has also toured with Ensemble Du Monde chamber orchestra. Cola has served as an Artist in Residence for the Sphinx Performance Academy, Queens Borough Community College and the Noel Pointer School of Music, where she became the Artistic Director. She works each summer as the Artistic Director of the Four Strings Academy in Lexington, MA. As a pedagogue and advocate for arts education, she has instructed hundreds of students in Brooklyn and throughout the New York Metropolitan area. She currently serves on the faculty of the First Coast Community Music School and has recently taken the role of leading the Jacksonville Symphony Youth Orchestra in Clay County.

AUDITIONS May 30 - June 4

Serves ages 7-21 Philharmonic Repertory Orchestra Premiere Strings Encore Strings Foundation Strings I & II 50 JAXSYMPHONY.ORG – APRIL – MAY 2017

FSCJ South Campus Wehner School of the Arts

Apply by Monday, May 15, 2017 Visit JaxYouthOrchestra.com or call 904.354.5120 or more information.

MEET THE STAFF Kyle Enriquez, Stewardship and Events Manager If you have come to the Symphony and visited Symphony Central, the Conductors Club, the Gala or a pre- or post-concert event, chances are you have run into Kyle Enriquez. He seems to be everywhere. His calm demeanor ensures that everything is just right for patrons.

O RC HES T R A

Kyle is a native of Jacksonville, FL and a graduate of the University of North Florida where he received his Bachelor’s Degree in Music, Euphonium Performance. He has been a member of the Jacksonville Symphony’s Development team since January 2016. Prior to joining the Symphony, Kyle worked at the University of North Florida Fine Arts Center and Riverside Fine Arts Association. As Stewardship and Events Manager, he works to enrich the Symphony’s membership programs with special events and exclusive access to the orchestra.

BA ND

T HE AT RE

In his spare time, Kyle enjoys gardening and posts beautiful pictures of his garden on his Instagram account, @kylefromjax.

Pe r for m a n c e a n d Educ ation

To reach Kyle at the Symphony, email him at kenriquez@jaxsymphony.org or call him at 904.354.4092.

NEW PRODUCTION! Private Lessons on ALL Instruments for ALL Ages

Community Band | Orchestra | Jazz Band Faculty: Jacksonville Symphony Members and College Music Professors

New in 2017: Art Department! “Northeast Florida Conservatory is the most comprehensive music school in our community.”

SUMMER CAMPS MUSIC. THEATRE. ART

Youth Theatre July 10-21

Art Camp July 10-21

Guitar Camp June 6-10

Philanthropic Outreach Project

~Philip Pan, Jacksonville Symphony Concertmaster

Laura’s Friends We offer free music lessons/classes to the disadvantaged in our community and have introduced music into the lives of children and students at Daniel Kids, Girls Inc., The Bridge of NE Florida and many public schools in the Duval County School System.

904.374.8639

www.nfconservatory.org NE Conservatory is a non-profit 501(C)(3) Member: National Guild for Community Arts Education

Apr 21-23 / Apr 28-30 (Friday, Saturday & Sunday)

All tickets only $20! Purchase Tickets Online:

ShowTixNow.com All performances at

The Conservatory

11363 San Jose Blvd., Bldg. 200 ENCORE 51

BUS PACKAGES

EXPERIENCE LIVE MUSIC IN AN ENTIRELY NEW WAY. LUNCHING WITH THE RITZ: A LUNCHTIME CHAMBER CONCERT Wednesday, May 10 12:30 p.m. | Free with Museum admission

Don’t like to drive at night? Don’t want to worry about parking? Leave the car close to home, relax and ride with fellow concertgoers. Make your advance reservations for specially packaged evenings from St. Simons Island, St. Johns/Mandarin, Palm Coast and The Villages. For more information about group sales, bus/dinner packages and restaurant discounts, please call Group Sales at 904.356.0426.

Make your lunch hour more enjoyable with a concert by the Ritz Chamber Players and a pre-ordered lunch from the Cummer Café (additional $15 per person plus tax and gratuity).

AMERICANA GARDEN CONCERT FEATURING THE HACKENSAW BOYS Saturday, June 24 Doors open at 6 p.m., concert 7 to 9 p.m. | Members $20, Non-Members $25

Enjoy an evening of flawless melodies and Americana music in the breathtaking Cummer Gardens with the nationally-recognized Hackensaw Boys. For reservations please call 904.899.6038 or visit cummermuseum.org 829 Riverside Ave Jacksonville, FL 32204

52 JAXSYMPHONY.ORG – APRIL – MAY 2017

Bus Transportation from Amelia Island All Friday Masterworks Nights: Bus from Amelia Island at Harris Teeter. For more information or reservations, please call Patron Services at 904.354.5547.

MASTERWORKS SERIES hour, he awaited her on the platform of the railroad station. But when she failed to appear, he returned home, probably with some sense of relief at having avoided— through no merit of his own—a personal and professional abyss.

Friday & Saturday, May 19 & 20, 2017 l 8 pm Sunday, May 21, 2017 l 3 pm “Insight” one hour prior to each Masterworks concert

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

MAHLER’S SYMPHONY NO. 2 “RESURRECTION” Courtney Lewis, conductor Haskell Endowed Chair

Laura Tatulescu, soprano Susan Platts, mezzo-soprano Jacksonville Symphony Chorus Gustav MAHLER Symphony No. 2 in C minor, “Resurrection” I. Allegro maestoso II. Andanta moderator III. In ruhig fliessender Bewegung IV. Urlicht V. In tempo des Scherzo

1:17:00

There will be a five-minute pause between the first and second movements. Weekend sponsors: Roger L. and Rochelle S. Main Charitable Trust Brooks Rehabilitation Saturday sponsor:

Saturday concert is dedicated in memory of Dr. John Spanier

CELEBRATING 26 YEARS!

Mahler’s Symphony No. 2 “Resurrection” By Steven Ledbetter

Gustav Mahler (1860-1911) Symphony No. 2 in C minor (1894) It is an old cliché in film biographies of composers to link the moment of artistic creation in some way with a love affair, whether consummated or otherwise. Cliché though it be, Gustav Mahler began work on the material that was to turn into his first two symphonies as an artistic release from a tempestuous and troubling involvement with Marion Mathilda von Weber, the wife of a German soldier, Captain Carl von Weber, who was the grandson of the composer of Der Freischütz, which had effectively created a school of German romantic opera.

Mahler became involved with the Weber family in December 1886, when the Leipzig Opera revived a number of Weber’s works for the centennial of the composer’s birth, many of them conducted by Mahler; he also worked on the completion of Weber’s unfinished opera Die drei Pintos. His intense labor on the manuscript necessitated nearly constant contact with the Weber family. Soon Mahler found himself in love with Marion, and she with him. Captain von Weber was aware of the situation but discreetly avoided an open break that would surely cause a scandal ruinous to his military career. At one point Mahler and Marion even planned to elope together. At the appointed

During these interim years Mahler’s life as a composer was devoted largely to the composition of songs, some with piano accompaniment, others with orchestra. They drew their texts almost entirely from Des Knaben Wunderhorn (Youth’s Magic Horn), an anthology of German folk poetry published in 1805 under the editorship of Achim von Arnim and Clemens Brentano. Suddenly in 1887 Mahler began concentrating on texts from the anthology. They tapped a wellspring of creativity in him. For the next decade, all his works—from little songs with piano accompaniment to immense symphonies—were intricately intertwined with his passion for the Arnim and Brentano anthology. During the summer of 1893, on vacation at Steinbach, Mahler returned to the Second Symphony while also composing a number of new Wunderhorn songs. He completed a voice-and-piano draft of Des Antonius von Padua Fischpredigt (St. Anthony of Padua’s Sermon to the Fishes) on July 8. The full score followed on August 1 – but by then he had already turned the song into a purely orchestral Scherzo, the score of which had been completed on July 16; it ended up as the third movement of his symphony. By July 19 Mahler had set another Wunderhorn poem, Urlicht (Primeval light, for voice and orchestra). It eventually became the fourth movement of the Second Symphony. At this point Mahler found himself in a quandary: how to bring the symphony to a convincing conclusion. If he were able to find such a finale, the middle movements could function as intentional points of relaxation in the mighty scale of the whole. He found his solution unexpectedly at a memorial service for his superior in Hamburg, Hans von Bülow. Bülow was famous both as conductor and pianist. For many years he had been intensely active with the “music of the future,” the works of Liszt (his father-in-law) and Wagner, whose Tristan and Meistersinger he had conducted at their premieres. But by the time he met Mahler, Bülow was no longer ENCORE 53

sympathetic to the latest musical trends. He greatly admired Mahler’s conducting, but he himself refused to program any of the orchestral Wunderhorn songs, insisting that he could make no sense of them. And when Mahler played through some of the still unfinished Second Symphony for him, von Bülow covered his ears and declared that it had surpassed all acceptable bounds of dissonance. How ironic, then, that it was through the death of this musician so antipathetic to his work that Mahler found the key to his conclusion. Bülow died in Cairo on January 12, 1894; a memorial service was held in Hamburg on March 29. Mahler’s close friend, the Czech composer Josef Bohuslav Foerster, was also present. Foerster lost sight of Mahler in the crush of people at the service, but he was strangely moved by the effect of a chorus of children singing a resurrection hymn to a text of Friedrich Klopstock, “Auferstehen, ja auferstehen.” He described what happened next as follows: I did not find Mahler. But that afternoon I could not restrain my restlessness, and hurried to him as if to obey a command. I opened the door and saw him sitting at his writing-desk, his head lowered and his hand holding a pen over some manuscript paper. I remained standing in the doorway. Mahler turned to me and said: “Dear friend, I have it.” I understood. As if illuminated by a mysterious power I answered: “Auferstehen, ja auferstehen wirst du nach kurzem Schlaf...” Mahler looked at me with an expression of extreme surprise. I had guessed the secret he had as yet entrusted to no human soul: Klopstock’s poem, which that morning we had heard from the mouths of children, was to be the basis for the closing movement of the Second Symphony. Mahler’s pent-up eagerness to compose his massive finale was suddenly released in the realization that Death (the theme of the first movement) could only be followed appropriately by Resurrection (a subject naturally enough stressed at Bulow’s memorial service). The service not only offered an image for the symphony’s close but also a text that could give wings to the music—Friedrich Klopstock’s resurrection hymn. (Actually Mahler ended up adapting the text so freely that, after the first two stanzas, it is basically his own work.) From this point he saw his way to the completion of the symphony. 54 JAXSYMPHONY.ORG – APRIL – MAY 2017

Mahler decided to organize and conduct the first complete performance himself. In the days of rehearsing that preceded the premiere (Berlin, December 13, 1895), Mahler’s enthusiasm grew steadily. On the 10th, after all of the elements finally came together for a first reading of the finale, he wrote to his mistress, soprano Anna von Mildenburg, “Yesterday, for the first time, everything turned to sound. All was far beyond my hopes. The performers were so transported and enthusiastic that they themselves found the appropriate expression...Such grandeur and power have never been attained before.”

descriptive program for the symphony in which he explained the character of the Allegro maestoso as a recollection of the “life, struggles, passions, and aspirations” and of a “well‑loved person” while standing by his coffin. The question that keeps intruding, says Mahler, is “What now? What is this life—and this death? Do we have an existence beyond it? Is all this only a confused dream, or do life and death have a meaning?—And we must answer this question if we are to live on.”

Mahler's conducting style, 1901, caricatured in the humor magazine Fliegende Blätter

With or without programmatic aid, the first movement is overwhelming in vibrancy and variety. For all its novel form and content, it still makes obeisance to the traditions of 19th‑century music. The opening key of C minor cannot fail to recall Beethoven’s Fifth, and the stormy character of the first ideas conjures up Siegmund’s arrival at Hunding’s house in the opening of Wagner’s Die Walküre. But the wonder of this opening is the range of ideas that Mahler develops, all in C minor, all redolent of the funeral march. Magically contrasted with this is a bright theme of utter simplicity in E major, a theme that no one but Mahler could have conceived. Its upward-striving character (reticent at first) is a foreshadowing of the “Resurrection” theme of the finale. The material is exposed at considerable length, in two stages (corresponding in principal to the old repeated exposition in the classical symphony, though Mahler’s “repeat” is in fact a continuous and varied development).

Yet to the public, Mahler’s name still meant nothing. None of his works had achieved substantial success, and a few performances had been outright catastrophes. As a result, ticket sales were extremely bad, and most of the tickets had to be given away to musicians or conservatory students. The reaction at the end was overwhelming—and this in an audience that included such important musical figures as the composer Engelbert Humperdinck and the conductors Arthur Nikisch and Felix Weingartner, not to mention the young Bruno Walter, who found his calling as a conductor and as a lifelong devotee to Mahler that evening.

The many tiny thematic ideas that are created as offshoots of the march rhythm are intertwined in an elaborate and extended development during the course of which the horns sing out a hymnlike melody that begins with the first four notes of the Dies irae from the Requiem service. But the recapitulation avoids resolving the questions raised by the movement; both of the principal ideas recur in the same keys in which we first heard them (C minor and E major respectively), so that the consolation of the major-key theme seems to arrive from another world entirely before being driven aside by a dark and mysterious C-minor coda.

As we have seen, Mahler composed the first movement of the Second Symphony hard on the heels of the First, as if they were part of the same creative impulse. Indeed, Mahler remarked once that his title for the first movement, Todtenfeier, referred to the funeral rites of the “Titan” who was the hero of his First Symphony. As late as 1901, Mahler wrote out an extensive

In the score, Mahler asks for a five-minute pause between first and second movements, a request motivated in part, no doubt, because what follows is so different in character. The next three movements, all much shorter and to some extent lighter, function as intermezzi. Mahler described the Andante as “a happy moment from the life of his beloved departed one.” In style it is a

Ländler, an Austrian folk dance in 3/4 time, relaxed and bucolic, yet with an extraordinary finish and precision. The third movement, related to the Wunderhorn song about St. Anthony of Padua’s sermon to the fish, is a witty and sardonic Scherzo. In the song version, the text tells of the saint coming to a stream and assembling the fishes for a sermon on the thoughtlessness of their lives; they listen carefully, and then, when the sermon is finished, go on just as before. But one need not know the poem: the harshly acid orchestration and the downward-sinking whirling of the melodic line are unsettling in a movement that starts out as if it will be a rather straightforward and light‑ hearted dance. After the Scherzo slithers heartlessly and chromatically to its conclusion, we suddenly hear a human voice and feel a surge of warmth. It is an unforgettable moment, marked by a solemnity reinforced by the chorale-like harmonization. The poem itself is at once naive and profound. Mahler constructs his setting to highlight the words “I am from God and will return to God” with a musical phrase that is later worked into

the finale. The voice dies away in Mahler’s favorite rising arch, expressing a sublime and tranquil confidence scarcely heard heretofore. The serene ending of the fourth movement is shattered by a horrendous orchestral outburst. The reference to Beethoven’s Ninth Symphony (the last movement of which begins with what German writers have been pleased to call a “fanfare of terror”) is unmistakable. There follows a complex and very operatic orchestral passage—we should remember that Mahler was intimately acquainted, from the conductor’s podium, with the world of opera and its larger-thanlife gestures. Offstage horn calls build to elaborate fanfares. If the dead are to be summoned to judgment through a musical call to attention, it will be one like this, which seems to fill the entire universe. It leads to a gigantic march of wild, even vulgar, character, yielding eventually to a section of incredible stillness and unreality. Offstage brass instruments utter the definitive summons. As the sound of fanfares dies away, there occurs the most

breathtaking moment of the entire symphony: unheralded and unexpected, the chorus begins singing very softly, the words of Klopstock’s resurrection hymn: “Rise again, yes, thou shalt rise again, my dust, after a brief rest.” The dead of all mankind seem to be stirring in answer to the summons. During the symphony’s premiere, the audience actually gasped at the moment of the choral entrance. From this moment the music gradually becomes confident and affirmative. Mahler follows Klopstock’s poem closely at first, but from the entrance of the alto solo (“O glaube, mein Herz”—“Believe, my heart, you were not born in vain”) the text is Mahler’s own. It is tempting to read into it a double meaning: the evident religious sentiment derived from Klopstock as well as the composer’s own assertion that, in spite of setbacks and failures, his music will live (“You have not lived and suffered in vain”). The ringing choral finale moves to E-flat, relative major of the opening C minor, utterly casting aside the torments and doubts of the funeral march for a confident declaration of the utmost brilliance—and a major point of arrival in Mahler’s own personal voyage of self-discovery.

Jacksonville Symphony Chorus Donald McCullough, Director Tom Zimmerman Endowed Chair

Jill Weisblatt, Chorus Manager William Adams David Avery Jerrye Baker Susan Baker Stan Ballenger Alla Bartosh May Beattie Jessica Bergstol Jonathan Boltz Elizabeth Bricknell Louise Brooks Dorothy Jean Bush Rita Cannon Craig Cantley Chuck Carroll Kenneth Chin Estelle Chisholm Dale Choate Sandy Clarke Susan Connors Bradley Corner Nancy Crookshank Julie Cross Katherine Crowell Jane Daugherty Julie Davis Tracy Davis

Alyce Decker Marissa Dickerson Stephanie Doerr Jeff Elledge Kate Flint Brian Ganan Veronica Gibson Bonnie Goldsmith Jessica Green David Groth Michele Hale Robert Hall Deborah Harden Baker Carol Heckrotte Wayne Heckrotte Deborrah Hoag Mike Hodges Shawna Hodges Kathy Hunt Steven Jockisch Kiki Karpen Matthew Kelly Michelle Kemp William Kolb Charla Kuhlmann Ken Kutch Lili Lauer

Lena Leon de Lahaye Ginger Lindberg Leyse Lowry Melissa Lumsden Mark Macco Jim Maher Kristin Markham Walter Mattingly Liz McAlhany Marianne McAlhany James McGuffin Kate Medill Osvaldo Medina Pat Medlock Bill Meisel Barbara Miller Molly Miller Kenneth Mixon Libby Montgomery John Morrow Sevella Mostella Joseph Murray Tom Nesbitt Christina Ng Ben Norman Shane Oakley Sally Offen

John Owen Vanessa Pagan Jane Palmer Hugh Patterson Rosina Paul Anne Petersen John Petersen David Pierson Deborah Pierson Laura Jane Pittman Kelsey Potratz Ken Powell Rosalind Powell Vickie Prince John Pugh Nancy Purcell Amy Quinn Paulina Ragunas Mark Reasoner Tim Redding Nancy Redfern Wynn Redmon Caitlin Regan Patti Robertson Mark Robinson Karl Rogers Robert Roth

Kim Rowland AJ Ruvane John Ruvane Jen Schlechte Jeff Schroer Keith Schroyer Jennifer Serotta Kara Shidemantle Janet Snell Sharon Snow Laura Stephenson Richard Sykes Hugh Tobias Sheri Van Orden Carole Vanderhoef Banks Hannah Ventro Eileen Ward Jerri Lea Ware Jill Weisblatt John Weitzel Terri Williams Cindy Wohl Peter Wynkoop

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Laura Tatulescu, soprano Masterworks guest artists sponsored by Ruth Conley Romanian-American soprano Laura Tatulescu has gained recognition for her beauty of voice and her exciting portrayals on the operatic and concert stage. Ms. Tatulescu’s 2016-17 season includes her debut with Maggio Musicale Fiorentino as Musetta in Lorenzo Mariani’s production of La bohème conducted by Daniel Oren and a return to the Bavarian State Opera as Karolka in Janáček’s Jenůfa conducted by Tomáš Hanus. After acclaimed performances at Santa Fe Opera in summer 2015 as Serpetta in Mozart´s La finta giardiniera, conducted by Harry Bicket and directed by Tim Albery, the 2015-16 season included a number of exciting debuts for Ms. Tatulescu. She started the season singing Mahler’s Symphony No. 2 with the Atlanta Symphony Orchestra under Robert Spano, joined Seattle Opera as Susanna in Mozart’s Le nozze di Figaro conducted by Gary Wedow and directed by Aidan Lang, took to the stage at Florida Grand Opera as Norina in Donizetti’s Don Pasquale, conducted by Ramón Tebar and directed by Renaud Doucet, and lastly portrayed Marzelline in Beethoven’s Fidelio with Cincinnati Opera. Her orchestral repertoire covers a wide range of Oratorio and concert repertoire, including works by Bach and Mozart, Mendelssohn’s Elijah, Gorecki’s Third Symphony, Pergolesi’s Stabat Mater, Poulenc’s Gloria, Faure’s Requiem, and Vivaldi’s Gloria. Born in the United States, she started her musical education as a violinist. She later graduated with a Master’s Degree in Opera from the National Music University in Bucharest, Romania and made her professional opera debut in 2004 at the Romanian National Opera in Bucharest.

Susan Platts, mezzo-soprano British-born Canadian mezzo-soprano Susan Platts brings a uniquely rich and wide-ranging voice to concert and recital repertoire for alto and mezzo-soprano. She is particularly esteemed for her performances of Gustav Mahler’s works. In May of 2004, as part of the Rolex Mentor and Protégé Arts Initiative, world-renowned soprano Jessye Norman chose Ms. Platts as her protégée from 26 international candidates and she has continued to mentor her ever since. Ms. Platts has performed at Royal Albert Hall, Teatro alla Scala, Teatro di San Carlo, Carnegie Hall and Lincoln Center as well as with the Philadelphia, Cleveland and Minnesota Orchestras, Orchestre de Paris, BBC Symphony Orchestra, National Arts Centre Orchestra, Montreal, Toronto, American, Detroit, Milwaukee, Baltimore and Houston Symphonies, Les Violons du Roy, Boston’s Handel and Haydn Society, as well as the Los Angeles and St. Paul Chamber Orchestras. She has collaborated with many of today’s leading conductors including Marin Alsop, Roberto Abbado, Sir Andrew Davis, Ludovic Morlot, Leon Botstein, Andreas Delfs, John Adams, Christoph Eschenbach, Jane Glover, Jeffrey Kahane, Bernard Labadie, Keith Lockhart, Kent Nagano, Yannick Nézet-Séguin, Sir Roger Norrington, Peter Oundjian, Itzhak Perlman, Bramwell Tovey, Osmo Vänska and Pinchas Zuckerman. Ms. Platts’ recent highlights include her London and Berlin debuts, in John Adams’ Nixon in China (BBC Symphony), her staged opera debut as Florence Pike in Britten’s Albert Herring (Pacific Opera, Vancouver Opera), Erda in Wagner’s Das Rheingold (Pacific Opera), and Bernstein’s A Quiet Place (Montreal Symphony Orchestra). Ms. Platts has recorded Das Lied von der Erde for Fontec Records with Gary Bertini, conducting the Tokyo Metropolitan Orchestra, a CD of art songs with pianist Dalton Baldwin, Mahler’s Lieder eines fahrenden Gesellen with the Smithsonian Chamber Players and Santa Fe Pro Musica for Dorian Records, Brahms Zwei Gesänge with Steven Dann and Lambert Orkis, a solo disc of Lieder by Robert Schumann, Clara Schumann and Johannes Brahms on the ATMA label and most recently she recorded the chamber version of Das Lied von der Erde for the Naxos label. 56 JAXSYMPHONY.ORG – APRIL – MAY 2017

Donald McCullough,

Director, Jacksonville Symphony Chorus Tom Zimmerman Endowed Chair

Hailed by the Washington Post for his “dazzling expertise” on the podium, Donald McCullough is considered one of America’s pre-eminent choral conductors. He became the Director of the Jacksonville Symphony Chorus in 2012. In November 2014 he led the Jacksonville Symphony Chorus in its first appearance at New York’s Lincoln Center. Previously, he was the director of the Master Chorale of Washington in the John F. Kennedy Center Concert Hall for more than a decade, developing a reputation for creating choruses that sang “with an innate sense of lyricism and musical poise” and delivered concerts that were “sensitive, scrupulous and heartfelt” (Washington Post). During his tenure with the Master Chorale, the 120-member symphonic chorus performed 16 world premieres, produced three nationally distributed CDs, and toured twice throughout Central Europe. The Chorale earned The Margaret Hillis Achievement Award for Choral Excellence in North America. McCullough is also a composer whose works have been critically acclaimed throughout North America and Europe. Routinely sought after for commissions, his works have been described as “powerful and heart-wrenching,” “mystically beautiful” and “remarkably inspirational.” Previously, McCullough was the founder and music director of two Norfolk-based choruses: the all-professional vocal ensemble, the Virginia Chorale, and the Virginia Symphony Orchestra Chorus. A native of Jacksonville, FL, he moved to Atlantic Beach, FL, in 2009 to focus on his expanding composing career. He also holds the post of Organist and Choirmaster at the Episcopal Church of the Good Shepherd in Riverside.

About the Jacksonville Symphony Chorus The Jacksonville Symphony Chorus, under the direction of Donald McCullough, is an all-volunteer group of individuals from all walks of life who have a love of singing choral music. The 140 members must audition to participate. Four members have been with the Chorus since the beginning: Carole Vanderhoef Banks, Deborrah Hoag, Libby Montgomery and Billy Ware.

This season the Chorus will participate in several performances including The Dream of Gerontius, Holiday Pops and Mahler’s Symphony No. 2, Resurrection.

Choral singing is the most popular form of participation in the performing arts according to a recent study by Chorus America. Over 18% of American households report one or more adults participate in a chorus.

“The Symphony chorus is designed to sing over the Symphony,” said McCullough. “I look for voices that have focus and ring to them and that are sizeable enough to add to the sound we are trying to achieve.” Some of the voice factors that go into selecting a choral member including their ability to sing in tune, which must be impeccable; their flexibility; range, diction; and innate sense of musicality. The Chorus is celebrating its 32st season this year and was founded by past Music Director Roger Nierenberg. In 2014 the Chorus traveled to New York City to perform under McCullough’s direction in the Lincoln Center premiere of his cantata In The Shadow of the Holocaust. ENCORE 57

CONDUCTOR’S CLUB PLATINUM $10,000 - $24,999

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Bob and Cindy Kastner Dr. Frances B. Kinne Patty and Jim Kleck Dr. and Mrs. Ross T. Krueger Mrs. Anne Kufeldt Dave and Mary Pat Kulik Kustura Technology ∆ Richard and Janet Tatiana Langford Mrs. Richard C. Lonsdale The Main Street America Group Bill and Barbara Maletz Martin Coffee ∆ Julie and Michael McKenny Margaret Leu Means Jeanne and David Moomaw Dorothea E. Neinstedt Ms. Kay Nichols Janet and Joseph Nicosia Robert and Flo Anne O’Brien Mary Carr Patton Deborah and David Pierson Mr. and Mrs. Thomas Pippin Mr. and Mrs. Raymond A. Ross, Jr. Susan and John Ryzewic Mrs. J. Louis Schaefer Scott-McRae Group, Inc. Ed and Whitney Selover Mr. and Mrs. Richard L. Sisisky Richard G. and Ann F. Skinner Advised Fund Kent and Marie Smith Dr. Mark A. Spatola and Dr. Mihaela Ionescu Mr. and Mrs. Edward L. Spetnagel III Joseph and Anna Spiak Brooke and Hap Stein The Thomas Family Foundation V Pizza Dr. and Mrs. H. Warner Webb Ms. Barbara W. Webster Mr. Terry West Westminster Woods on Julington Creek Dr. and Mrs. Scott Wiedenmann Norma and Jack Williams Dr. Eugene and Brenda Wolchok Martie Yohe Carleton and Barbara Zacheis SILVER $2,500 - $4,999 Mr. and Mrs. Conrad F. Ahrens Mark and Rita Allen Teri and Jim Babcock Stephen E. and Phyllis C. Bachand Mr. and Mrs. Don Baldwin Claudette and Richard Barker, Jr. Mr. Paul Berry Drs. Roger and Marsha Bertholf Borkowski Family Foundation Sandy and Jack Borntraeger Mr. and Mrs. Raymond W. Boushie John and Cletia Bowron Mr. and Mrs. David B. Boyer Patricia Sanow Bramlett Col. and Mrs. E. M. Brisach Rod and Pat Brock Mark and Beth Brockelman Karen and Mark Brown Mary Ann and Shepard Bryan

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Wayne Greenberg and Elizabeth Shahan Susan and Hugh Greene Oscar R. Gunther M.D. Dr. Dan Hadwin and Dr. Alice Rietman-Hadwin Suna Hall Bill and Kent Hamb Jack and Grace Hand A. Sherburne Hart Marion Haynes Dr. Anne H. Hopkins, Emeritus Professor Evelyn Howard Arthur H. Hurwitz and Pamela Causey Rita H. Joost Luke and Sandy Karlovec Richard and Nancy Kennedy Don and Donna Kinlin Ted M. Klein and Barbara Levoy The E. J. Kovarik Philanthropic Fund Hal Latimer Norman and Mary Ellen Ledwin Harriet LeMaster Alison R. Leonard Phil and Rose Littlefield Hal and Frances Lynch Mr. and Mrs. Donald Maley Dr. Mike and Marilyn Mass Robert Massey and Lisa Ponton Ann and Bob Maxwell Mr. and Mrs. Philip S. May Jr Patrick and Helen Mayhew Mr. and Mrs. Harold F. McCart Jr Allan and Rosemary McCorkle Mr. and Mrs. Howard M. McCue III Mr. and Mrs. Frederick McNabb Mr. and Mrs. P. L. McWhorter Marcia Mederos Lee and Bobbie Mercier Brett and Susan Merrill Lance and Barbara Mora Linda Crank Moseley Monica and Robert Mylod Tom and Harriet Nesbitt Mr. and Mrs. Ken New Brig. Gen. Henry C. Newcomer USAF Ret. Robert Nuss and Ann Harwood-Nuss John and Dorothy Nutant David and Kathryn Olson Lorraine and John Orr Mr. Val Palmer The Parker Foundation Dr. and Mrs. Matthew C. Patterson Thomas M. Pope and Elsa Mae Troeh Rayonier Advanced Materials Foundation Mr. and Mrs. Robert Quinby Mike and Julia Suddath-Ranne Rev. and Mrs. John S. Rogers Mr. and Mrs. Raymond A. Ross Jr Claudia and Steve Russey Anne and John Ruvane Dr. and Mrs. Lowell Salter Sawcross Inc. Tom and Jane Schmidt The Shacter Family Foundation Becky Schumann Mr. and Mrs. Chris Seubert Stephen and Joan Shewbrooks Paul Shuler Steve and Judy Silverman Robin Smathers Harold K. Smith Charitable Fund Jonathan M. Smith, Esq. Laurel Conqueror Association, the Smoller Scholarship Fund

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Randy and Cindy Sonntag Joseph and Nancy Spadaro George and Shirley Spaniel Dr. Mandell and Rita Diamond Stearman The Stellar Foundation Rod and Ellen Sullivan Mr. and Mrs. Michael Tierney James and Lori Tilley Gwynne and Bob Tonsfeldt Susan and James Towler Emily Van Vliet Gabriele Van Zon Mrs. Georgia Wahl Mary V. and Frank C. Watson Advised Fund Linda F. Wilkinson Stephen Williams Mary Ann and Woody Witczak Dr. and Mrs. Daniel Wohl Mr. and Mrs. David Wohlfarth Jacob and Karen Worner Dr. Mary Ellen Young and Mr. Donald Owen Mary Jean Zimmerman Carolyn and Elliot Zisser $500 - $999 Anonymous (3) Anne and Billy Allen Mr. Thomas Argyris Dr. and Mrs. George F. Armstrong Jr Barbara H. Arnold Shirley and Dave Bailey William and Linda Ann Bainbridge Dr. and Mrs. Dwight S. Bayley Mr. and Mrs. Joseph P. Bender, Jr. David and Eleanor Bows Mr. and Mrs. Michael Boylan Mr. and Mrs. William Braddock Sandra Bay Bryant Caren and Dennis Buchman Dr. and Mrs. William Bullock Kevin and Pat Burke Dr. and Mrs. William H. Caldwell Mrs. Ruth G. Carden Joseph and Susan Castellano Dorothy Cernik Ian M. Charlton Gary and Barbara Christensen Elizabeth Schell Colyer Concert on the Green, Inc. Tom and Pat Conway Ted and Margaret Copeland Arch and Rosemary Copeland Mr. John and Mrs. Muffet Corse Bill and Kathy Cosnotti Mr. and Mrs. Robert A. Cowden Lt. Amy Crisp Mary Crumpton Mims Cushing Ms. Annabel Custer Harriett L. Dame Noel and Mildred Dana Mr. and Mrs. Julius Dean George and Sachi Deriso Paul and Doris Dorfman Margie and George Dorsey Kevin and Cathy Driscoll Mr. and Mrs. James F. Duffy Charles and Virginia Dunn Elaine Eberhart and Linda C. Miner Dr. and Mrs. A. R. Eckels Julia M. Edgerton Virginia M. Elliott Dr. Bill Ernoehazy and Mrs. Gail Bndi Mr. and Mrs. Richard Ezequelle David Faliszek Bill and Judy Franson

60 JAXSYMPHONY.ORG – APRIL – MAY 2017

Mr. and Mrs. Michael S. French Stephen M. Gahan Yves Genre Mr. and Mrs. Sydney A. Gervin Mr. Stephen J. Getsy Dr. Mary Alice Westrick and Dr. Thomas Gonwa Mr. and Mrs. Edmund Greenslet Robert and Susan Gregg Richard Habres Gisela Haemmerle Howard Haims Malcolm and Joyce Hanson Drs. Alfred D. and Katherine A. Harding Dr. John Harrington Karen Harris Hugh and Patricia Hayden MaryAnne Dokler Helffrich Mr. and Mrs. Philip R. Henrici Howard and Janet Hogshead Mrs. William G. Holyfield Barbara Johnson Brady C. Johnston Perpetual Charitable Trust Thelma N. Kager Mr. and Mrs. Peter E. Kaplan William Kastelz, Jr. in memory of Sandra Ruth and Jack Kelly Ruth and Richard Klein Janet and Ron Kolar Sunny and Harold Krivan Janet LaFrance James and Karen Larsen Ms. Merle Lear Mark and Mary Lemmenes Eleanor L. Lotz Mr. and Mrs. David Lovett William and Mary Lou MacLeod Mr. and Mrs. William P. Mallory Judith and Ray Mantle Mr. and Mrs. Joseph E. McCauley William and Brenda McNeiland Joe and Nancy McTighe Mr. P. L. McWhorter Alex and Joann Meyer Mr. and Mrs. Michael Minch Miranda Contracting, LLC John and Kathie Nevin Mr. and Mrs. J. Kenneth E. Noon Patricia D. Page Diane Hale and Charles Parker Audrey B. Patterson Richard Phlig Mr. and Mrs. Conrad Poniatowski Nancy Powell Judy and Jere Ratcliffe Mrs. Karen Ritchie Mr. Neil Rose and Dr. Jeannie Rose Dr. and Mrs. Wilbur C. Rust Peter Ryan Colleen Sanchez The Schultz Foundation, Inc. in memory of Yvonne B. West Richard D. and Patricia L. Seiter Silicon Valley Community Foundation Mrs. Sally Simpson Dr. and Mrs. Arne Sippens Dr. and Mrs.* Gregory E. Smith Dewey Sparks Mr. James Stronski Ivy Suter Crew of Tievoli Dorcas G. Tanner Mr. and Mrs. C. M. Thompson Elsie Thompson Mr. and Mrs. Randall Tinnin Mr. and Mrs. Thomas Torres Mrs. Alice Trainer

Mr. Rudolf E. Urban Sheri Van Orden Billy J. Walker Mr. and Mrs. Norbert F. Wann Cornelia and Olin Watts Endowment Fund White Publishing Company Mr. and Mrs. Thomas Whittemore Mr. and Mrs. Neil J. Wickersty Sylvia G. Cotner and Mary Wysong Dr. Daniel S. Yip and Teresa Rodriguez-Yip

DONOR APPRECIATION NIGHT A celebration of another season filled with life-changing musical moments made possible by you.

Wednesday May 24, 2017

7:00 PM | Jacoby Symphony Hall

Your annual gift of $75 or more grants you access to this exclusive concert.

Reservations required. Contact the ticket office at 904.354.5547.

COFFEE SERIES Friday, May 26, 2017 l 11 am

Patriotic Pops

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

PATRIOTIC POPS Nathan Aspinall, conductor 49:00 John Stafford SMITH

The Star Spangled Banner

Leonard BERNSTEIN

Overture to West Side Story

John Philip SOUSA

Liberty Bell March

Meredith WILLSON

76 Trombones from The Music Man

Armed Forces Salute

George GERSHWIN

Cuban Overture

John WILLIAMS

Hymn to the Fallen from Saving Private Ryan

Pyotr IlyichTCHAIKOVSKY

1812 Overture

John Philip SOUSA

Stars and Stripes Forever

Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

Nathan Aspinall, conductor Nathan Aspinall, joined the Jacksonville Symphony as Assistant Conductor in 2015. Formerly, he held the position of Young Conductor with the Queensland Symphony Orchestra where he assisted Chief Conductor Johannes Fritzsch and visiting guest conductors and conducted concerts for the education series. He studied French Horn and Conducting at the University of Queensland and upon graduation was awarded the Hugh Brandon Prize. In 2012 he attended the Aspen Music Festival studying with Robert Spano and Hugh Wolff. He was awarded the Robert J. Harth Conducting Prize, inviting him to return to Aspen in 2013. Aspinall has guest conducted the Sydney, Adelaide, Queensland and Tasmanian Symphony Orchestras, the Queensland Conservatorium Chamber Orchestra and has acted as Assistant Conductor for Opera Queensland. During the 2015-16 he returned to the Queensland and Adelaide Symphony Orchestras and had also been invited to attend the Conductor’s Workshop at the Tanglewood Music Centre. He studied Orchestral Conducting with Hugh Wolff at New England Conservatory.

Every country has special music and songs that engender a national response. It’s that special feeling that makes you proud to be part of the community. For the British it may be “God Save the Queen.” For the French, it’s definitely “La Marseillaise.” For Americans, there is a long history of patriotic music dating back to the Revolutionary War and continuing on through the Viet Nam era. “The Star Spangled Banner,” written by Francis Scott Key in 1814 was named as the national anthem in 1931. There are many others that relate to different periods in American history. The Civil War gave us songs from both sides of the conflict – “The Battle Hymn of the Republic,” and “Dixie.” “America the Beautiful” was originally a poem by Katharine Lee Bates that was made into a musical hymn by Samuel Ward in 1882. John Philip Sousa, known as “The March King,” composed many patriotic and military marches. His “Stars and Stripes Forever” is a Fourth of July favorite. He also wrote “Semper Fidelis,” the theme of the United States Marine Corps and “The Washington Post” to name a few. Moving onto World War I, Broadway star George M. Cohan penned “Over There” and “Yankee Doodle Dandy” in response to American troops going overseas in 1917. He was joined by Irving Berlin who contributed “God Bless America” in 1918. Woodrow Wilson Guthrie, also known as “Woody” was a singer-songwriter that gave us “This Land is Your Land.” The folksinger was born in Oklahoma and travelled the United States during the Great Depression to give voice to what was happening in the Dust Bowl. More modern patriotic tunes include those of Lee Greenwood. He wrote his “God Bless the USA” during the Viet Nam era in American history. Whatever your favorite patriotic pops, we hope that you enjoy what the Symphony has to offer this Memorial Day weekend. ENCORE 61

THE

C A D E NZ A

An invitation to play your part in the future of our Orchestra

SOCIETY

Cadenza Society members are a group of dedicated supporters who have made a future financial commitment to ensure that the orchestra you love will be able to keep making vibrant music for generations to come. Membership is easy. No immediate donation is necessary. You simply need to name Jacksonville Symphony as a beneficiary in your will, trust, insurance policy, donor advised fund, or foundation. Cadenza Society Members receive recognition in Encore as well as invitations to: • An exclusive Cadenza Society gathering with Music Director Courtney Lewis • Onstage Open Rehearsals • Annual Donor Appreciation Night

THE CADENZA SOCIETY

Office of Development • 904.354.9136

J a x S y m p h o n y. o r g / l e g a c y The Jacksonville Symphony gratefully acknowledges these members for including the Symphony in their estate planning. Mark and Rita Allen Sandra Sue Ashby Rick E. Bendel Jacob F. Bryan IV Elizabeth I. Byrne, Ed.D. Carl and Rita Cannon Clarissa and Warren Chandler Estelle and Terry Chisholm Col. and Mrs. Robert B. Clarke Luther and Blanche Coggin Elizabeth Schell Colyer Ruth P. Conley Mrs. Caroline S. Covin Mr. and Mrs. Robert A. Cowden Dr. Amy Crowder in memory of Carole V. Ewart Ms. Sara Alice Bradley Darby Stephen and Suzanne Day Chris and Stephanie Doerr Jeff Driggers* Brock Fazzini Josephine Flaherty Friend of the Symphony (7) Mr. and Mrs. Allan Geiger John L. Georgas* Linda Barton Gillis Rabbi Robert and Marilyn Goodman Sue Gover Mary T. Grant 62 JAXSYMPHONY.ORG – APRIL – MAY 2017

Camille Clement Gregg Charitable Remainder Trust in memory of Ruthwood Craven Samek Dr. Dan W. Hadwin and Dr. Alice Rietman-Hadwin Ms. Suna Hall Preston H. Haskell Richard Hickok and Andrea Ashley Bev and Bill Hiller Calvin and Ellen Hudson Charitable Trust Wes and Beth Jennison Lillian and Bunky Johnson Miss Naomi E. Karkanen Elizabeth Kerr Frances Bartlett Kinne, Ph.D. Norman and Dolores Kramer Dr. and Mrs. Ross T. Krueger E. Michel and Heidja Kruse Mrs. Edward W. Lane, Jr. Mary Ann Lindsey Dr. D’ Anne and Mr. Daniel Lombardo Doug and Laura Mathewson* Ambassador Marilyn McAfee Alison McCallum Frances Watts McCurry Lee and Bobby Mercier Sherry Murray Mr. and Mrs. E. William Nash, Jr. Janet and Joseph Nicosia

Lloyd Hamilton Oakes in memory of Ruthwood Craven Samek Mr. Val Palmer Mr. and Mrs. Joe Peters Ruth (Rusty) Pierce Richard and Leslie Pierpont Donald Albert James Robinson J. William Ross Mrs. Ruthwood C. Samek Carol and Bob Shircliff Mrs. Sally Simpson Ann H. Sims* Al Sinclair Helen Morse and Fritz Skeen Ana and Hal Skinner Mary Love Strum Gwynne* and Bob Tonsfeldt Chip and Phyllis Tousey Rev. W. Glenn Turner Mary Jane and Jack Uible James and Joan Van Vleck Stephen R. Wickersham Stephen Williams Renee Winkler Quentin Wood Thomas C. Zimmerman* *Designates deceased

Presents music under the stars

Featuring the

JACKSONVILLE SYMPHONY Bring a picnic and stay for the fireworks!

Come enjoy an incredible afternoon and evening of music and fun.

Great for the whole family!

May 28

Concert on the Green St. Johns Country Day School Orange Park

Gates open at 4 pm Concert at 8 pm For 30 years, Concert on the Green has been awarding scholarships to music and art students, while providing one the areaâ&#x20AC;&#x2122;s premier events featuring the Jacksonville Symphony.

Please help us continue this great tradition by becoming a patron or sponsor. Thank you to our faithful sponsors:

Visit

concertonthegreen.com

Proud Supporter of the Jacksonville Symphony.

Do you know a child who loves to sing? AUDITIONING SOON - GRADES K-12 No fee to audition • Need-based scholarships available

To schedule an audition, visit JaxChildrensChorus.org or call 353-1636, ext. 1

64 JAXSYMPHONY.ORG – APRIL – MAY 2017

Roasters and Blenders of Fine Coffee Since 1957 Martin Coffee Company 1633 Marshall Street / Jacksonville, FL 32206

9 0 4 .3 5 5 .9 6 61

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Jacksonville Symphony’s Sound Investment Program Symphonic music has the powerful ability to transform lives, especially for children. Throughout each season of the Sound Investment Program, the Jacksonville Symphony reaches more than 130,000 lives in Northeast Florida through in-school music programs, special performances and free or discounted tickets. For more information on any of the Jacksonville Symphony’s Sound Investment Programs, please visit JaxSymphony.org.

Youth Concerts

Community Concerts

Each fall and spring, elementary school students attend a 45-minute concert featuring the full Jacksonville Symphony at Jacoby Hall. Educator classroom guides and supporting material maximize the impact of the experience for the child.

With a promise of making music accessible to all, the Jacksonville Symphony provides free concerts throughout the community during its season.

Music in the Schools

The Jacksonville Symphony invites community members to join them in this once-in-a-lifetime opportunity to perform onstage at Jacoby Symphony Hall under the direction of the Jacksonville Symphony conductors and alongside some of your favorite Jacksonville Symphony musicians.

(Elementary School)

(Elementary and High School) Musicians from the Jacksonville Symphony visit schools to introduce smaller ensembles and integrate music with a variety of gradeappropriate curricula. The 2016-2017 season will introduce a new multi-media experience to high school students throughout Northeast Florida

(all ages)

Civic Orchestra

Students at the Symphony (Middle and High School)

Students at the Symphony is a concert-going experience that provides tickets to students for select Jacksonville Symphony Masterworks and Pops concert via school partnerships. Pre-concert workshops with Symphony Teaching Artists teach students about the orchestra and connect content of each performance to general elements of musical knowledge and allow students to make crosscurricular connections.

Family Concerts (ages 4 – 10)

Musical classics and creative storytelling are sure to engage and enthrall children ages 4 – 10. Family Concerts are a fun experience for the entire family to learn and listen together. Add to this concert experience by attending FREE pre-concert activities designed specifically for the theme of each concert. Activities include crafts, games and the Instrument Zoo presented by the Jacksonville Symphony Guild. Family concerts are used to establish a foundation for learning, reading and/or storytelling. This is essential in creating successful students, and ultimately, successful adults and an educated work force.

SPECIAL THANKS TO WAYNE AND DELORES BARR WEAVER ENCORE 65

Florida State College at Jacksonville

Continuing Education A Division of Workforce Education and Economic Development

Certificates & Licensure | Professional Development | Personal Enrichment

Florida State College at Jacksonville Continuing Education offers hundreds of courses that will help you advance professionally and grow personally. Whether you want to earn an industry certification, sharpen your business presentation skills or explore a new hobby, there’s a course for you. FSCJ Continuing Education courses are open to the public and offered during the day, evening, on the weekends and online to fit your busy schedule.

Visit our website and register today!  fscj.edu/coned

 (904) 357-8910

 continuingeducation@fscj.edu

MEET THE MUSICIANS

JONATHAN KUO VIOLIN We may have a cockatiel named Jeffrey to thank for the talented Jonathan Kuo. He took after his brother in playing the piano at a young age, and what kept him going was the beloved bird that would sit upon his shoulder as he practiced, and, in essence, became his first fan. Piano was just the beginning for Jonathan. Not even one year later he added the violin and by the fourth grade, the flute as well. Why did he settle on the violin? “The violin was the most exciting instrument for me, so I kept at it.” A native of Los Angeles, Jonathan has been around the world and then some for his music. A graduate of The Juilliard School (Bachelor’s) and Manhattan School of Music (Master’s), he spent two seasons with the New World Symphony in Miami Beach and one season with the Stavanger Symfoniorkester in Norway before settling in Jacksonville. Running is one of Jonathan’s outside passions from music as he recently completed the 2017 Donna Marathon at the Beaches. “I never thought I would run my first marathon so soon, it always seemed like an insurmountable goal,” he said. On mornings you may find him zipping down San Jose Boulevard, either training for his next big race or just for fun. Photo by Tiffany Manning

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MEET THE STAFF Caroline Jones, Sales Manager Caroline joined the Symphony in September 2016 and has hit the ground running. A graduate of Florida State University with a Bachelor’s degree in Marketing and a minor in communications, she is well-equipped to handle her duties. As sales manager, she sells advertising in the Symphony’s event program, Encore, and plans special marketing events and assists groups with the planning of outings to the Symphony. She has a smile for everyone in her work at the Symphony. After graduation she moved to Dallas and worked in marketing and sales with a software company. But she missed the ocean so Jacksonville seemed like a better fit. And the beach has been good luck for her as that is where she met her fiancé, Brogden. The two have a one year old golden doodle, Ruby Merlot. The name fits nicely with Caroline’s love of food and wine which she cultivated when she studied abroad in Spain. “My favorite thing about my role at the Symphony is connecting with patrons and introducing people to the Symphony,” she said. “I love our line – redefining what a Symphony can be. I see that all the time with patrons who have never before experienced symphonic music.” If you are interested in advertising or organizing a group to visit the Symphony, contact Caroline at cjones@jaxsymphony.org or call her at 904-356-0426.

TWO ALUMS • TWO ERAS • TWO SUCCESSES ULYSSES OWENS, JR. Jazz Artist with three solo albums, 2-time Grammy Award winner, recently joined the Faculty at The Juilliard School in the Jazz Studies Program

JULIAN ROBERTSON National Young Arts Finalist, Recipient of Full Scholarship at The Juilliard School

CLASS OF 2001

CLASS OF 2016

Offering Intensive Studies in Dance, Vocal, Instrumental Music, Film, Creative Writing, Theatre and Visual Arts

FOR 2017 AUDITION INFORMATION:

(904) 346-5620, EXT. 101 • DA-ARTS.ORG

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MEET THE STAFF Anna McGee, Digital Marketing Manager Anna has called Jacksonville home since 2007; she attended the University of North Florida where she received her Bachelor’s Degree in Art History. Through internships with the Cultural Council of Greater Jacksonville and the Cummer Museum of Art & Gardens, Anna found her passion in the Jacksonville arts community. Prior to joining the Symphony, Anna worked at the Cultural Center at Ponte Vedra Beach in program and gallery management. Anna joined the Symphony team in September 2016 – if you’ve visited the Symphony’s website, “shared” a post from the Symphony’s Facebook, or “liked” a photo on the Symphony’s Instagram, you’ve likely seen her work. As Digital Marketing Manager, Anna works with the Marketing team to promote the Symphony’s concerts in new and unique ways, utilizing social media and digital platforms to get the word out. She works behind the scenes, expanding the Symphony’s reach through endeavors like the Facebook live stream season announcement and video series featuring Symphony musicians playing clips of their favorite holiday tunes. Outside of the Symphony, Anna loves experimenting in the kitchen, planning travel adventures, and spending time with her loved ones, including her three pets. To get in touch with Anna, email amcgee@jaxsymphony.org or call 904-807-1003.

Help Duval County Public School musical students with Instruments for Change Donate new or gently used instruments when you attend the Jacksonville Symphony March 1 through May 31

Money donations to purchase new instruments are also accepted. Please make checks payable to Duval County School board and include “Instruments for Change” in the memo line.

For more information visit www.duvalschools.org/arts or call 904.739.4869, ext. 1 70 JAXSYMPHONY.ORG – APRIL – MAY 2017

Listen. Learn. Create. Give Did you know that income from concert tickets covers just half of the cost of creating a full season of concerts? We rely on donations to keep concerts affordable, as well as offer community and education programs that will nurture musicians and listeners alike. Make a gift today that will inspire creativity and spread joy, and you’ll lead the way for great music in Jacksonville.

Giving Programs Making a gift to the Symphony’s Annual Fund strengthens your Symphony experience to include full year of special privileges and benefits for one household. Each level includes benefits of the previous levels for one household.

MEMBERSHIP ($75)

CONDUCTOR’S CLUB ($2,500)

Invitations to the all-new Patron Plus events series

Florence N. Davis Gallery intermission reception access

Insider privileges and events

Elite concert and ticketing privileges

Invitations to Season Announcement and Member Appreciation Night

VIP Ticketing Concierge

Minimum 10% off all tickets

Invitations to On-Stage Rehearsals

Members’-only edition of the Interlude e-Newsletter

CONDUCTOR’S CLUB GOLD ($5,000)

PREMIUM MEMBERSHIP ($250)

Guaranteed complimentary valet parking

50% off all Patron Plus events

R CONDUCTOR’S CLUB PLATINUM ($10,000)

A gift of $250 give 5 middle schoolers access to the new Students at the Symphony concert and lecture experience.

P L AY E R ’ S C I R C L E ( $ 5 0 0 ) Exclusive access to Symphony musicians Four vouchers for Patron Plus events Season-long recognition in Encore! Invitations to Candlelight Conversations dinners and Cast Parties with Symphony musicians

R PREMIUM PLAYER’S CIRCLE ($1,000)

An exclusive CD recording of the Jacksonville Symphony

The opportunity to dedicate a concert A gift of $2,500 brings seven busloads of students to the hall for youth concerts.

DONOR APPRECIATION NIGHT A celebration of another season filled with life-changing musical moments made possible by you.

Wednesday, May 24, 2017 7:00 PM | Jacoby Symphony Hall

Two one-time passes to intermission receptions

Your annual gift of $75 or more grants you access to this exclusive concert.

A gift of $1,000 underwrites one year of instruction through the Jacksonville Symphony Youth Orchestras for one student.

Reservations required.

Contact the ticket office at 904.354.5547.

Make a difference and be counted among our members who share a passion for music.

J a x S y m p h o n y. o rg / d o n a t e

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GET INVOLVED - VOLUNTEER WITH THE SYMPHONY The Jacksonville Symphony loves its volunteers. There are many ways to support the Symphony – you can give a gift, join an auxiliary group, serve as an usher or sing in the chorus. Read about the many opportunities to support our mission.

ARIAS Continues Its Support of Nassau County Music Education ARIAS, Amelia Residents in Action for the Symphony, has as its primary mission the music education of Nassau County primary school students. This is divided into three parts. Instrument Zoo, our program for fourth graders, kicked off in November with the announcement of our schedule for this year. Our volunteers are given the opportunity to sign up for one or many dates to help guide the children through their introduction to the various symphonic instruments. If you live in Nassau County and enjoy seeing a student smile when they hear their efforts produce a sound on a clarinet, trumpet or violin, please consider giving our Zoo some time. Call Susan Kosciulek at 904.548.0227 for more information. Our second initiative is bringing symphony ensembles to the various fifth graders. The feedback from the kids, displaying their enthusiasm for the program, is heartwarming. Now in its second year and including first and second graders, is our support for a Suzuki violin program. Instructor Shelby Trevor leads these classes and last year’s results were very encouraging. If you are interested in joining ARIAS, please call Jack Dickison, President, at 904.277.0572.

BRASS

Beaches Residents Actively Supporting the Symphony BRASS is an all-volunteer group that financially supports the Jacksonville Symphony and promotes concert attendance. BRASS also fosters fine music appreciation by bringing concerts to the Beaches, providing music education through a partnership with OLLI (Osher Lifelong Learning Institute) at UNF, and encouraging and mentoring young musicians with the BRASS Ring Student Music Competition.

Wines for Music 2017 was brought to you by a hard working committee of wine aficionados and music enthusiasts. Pictured from left to right: Glenn Geraci, Michael Imbriani, Joyce Perlowitz, Will Fellner, Nadine Sabatier, Jim Parker, and Bob Golitz. Not pictured are Randy Johnson, Lynne Radcliffe, Bruce Schwartz, Nancy Purcell, Kacey Roache, and Jessica Mallow.

BRASS Events—Annual Gala, April 23 At this highly-anticipated event, BRASS members enjoy a fine dinner and a concert by the full Jacksonville Symphony at the Ponte Vedra Inn & Club. A live auction offers chances to bid on home concerts with Jacksonville Symphony musicians and the opportunity to conduct the Symphony at next year’s gala. BRASS Ring Student Music Competition—April 8 Our annual competition for students of orchestral instruments takes place on the second Saturday in April. Division I and II winners will be presented in concert Tuesday, April 25th at Vicar’s Landing. The Division III and IV Winners Recital will be held at St. Paul’s by-the-Sea on Sunday, April 23rd. Check our website for winner announcements and recital times! To learn more about BRASS, visit BRASSonline.org.

72 JAXSYMPHONY.ORG – APRIL – MAY 2017

THE GUILD Our Holiday Luncheon was a huge success mostly because of the surprise guest artist. Conductor Nathan Aspanall was the hit of the sing along when he took part in “the Twelve Days of Christmas” by singing “and a partridge in a pear tree” 12 times. Thank you Nathan for being such a good sport.

The Palazzo on St. Johns, site of the 2017 Symphony Guild Showhouse.

Our Painted Violin project is winding down but you still have time to purchase a chance. Ticket sales raise funds for up to seven grants of $500 annually that are awarded to K-12 music educators for special music projects not funded by the schools. We have provided recorders to teach music-reading on a wind instrument. We have bought ukuleles to introduce strings in a general music classroom and provided child-sized, playable flute, trumpet, violin and snare drum to introduce the families of instruments of the orchestra. Grants have been used to for rebuilding a band program and provide private tutoring of instrumentalists. This is just a small sample of what these teachers use their grants for. There will be a Golf Tournament at Queen’s Harbour on April 10th. If you are attending the first concert mentioned in this Encore issue you still have time to get your reservation in. Even if you do not play golf you can always sponsor a hole. The most exciting thing is these words: Symphony Guild Showhouse. It is back and its our 40th anniversary. The dates are Sep. 23 – Oct. 8th. The location is Palazzo on St. Johns. Be sure to put it on your calendar. So as you can see, there are lots of ways to support the Guild. If you would like more information about any of these activities or just want more information about the Guild please contact Jennifer Barton at 904.354.2767 or jbarton@jaxsymphony.org. Also, check us out on Facebook at The Guild of the Jacksonville Symphony. Pat Manko, Guild President

Fidelity National Financial Pops Series

2017-2018 SEASON OPENER

MAMBO!

Public Sponsors and Support

SEP 22/23/24 Fri/Sat: 8pm Sun: 3pm

Jacksonville Symphony Association is funded in part by the Cultural Council of Greater Jacksonville and the City of Jacksonville

Nathan Aspinall, conductor

Department of State, Division of Cultural Affairs, the Florida Council of Arts and Culture and the State of Florida.

THE MAMBO KINGS Celebrate National Hispanic Heritage Month with the Symphony and the Mambo Kings’ explosive blend of Afro-Cuban, Latin rhythms and jazz improvisation.

and the

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Enhance your subscription with

Patron Plus Â

The Harkness Method at Episcopal School of Jacksonville

A new series of monthly behind-the-scenes events to give you more access to the music you make possible.

Add on Patron Plus for $30. For additional information, call Patron Services at 904.354.5547 or email TicketOffice@JaxSymphony.org.

Developing students as contributors and leaders in society through student-centered, collaborative learning. GRADES 6-12 | ADMISSIONS@ESJ.ORG | ESJ.ORG 4455 ATLANTIC BOULEVARD | JACKSONVILLE, FLORIDA 32207

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Innovative Print Management Solutions

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76 JAXSYMPHONY.ORG – APRIL – MAY 2017

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REALTORS®

(904) 739-7100

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TigerLily Media is proud to sponsor the Jacksonville Symphony’s 2016-2017 season.

FILM + TV + BROADCAST + MUSIC VIDEOS + BRANDED CONTENT + ANIMATION www.tigerlilymedia.com

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JACKSONVILLE SYMPHONY ADMINISTRATION EXECUTIVE OFFICE Robert Massey, President and Chief Executive Officer Sally Pettegrew, Vice President of Administration Cayte Connell, Executive Assistant ARTISTIC OPERATIONS Tony Nickle, Director of Artistic Operations Nidhi Gangan Every, Production Manager Ray Klaase, Stage Manager Kelsey Lamb, Principal Librarian Luke Witchger, Orchestra Personnel Manager Shamus McConney, Technical Director James Pitts, Stage Associate Kenneth Every, Assistant Orchestra Personnel Manager Debby Heller, Assistant Librarian Annie Hertler, Bowing Assistant David St. George, Artistic Advisor DEVELOPMENT Jennifer Barton, Director of Individual Giving Amanda Lipsey, Director of Grants and Sponsorships Kaye Glover, Major and Planned Gifts Officer Michelle Barth, Individual Giving Officer Jessica Mallow, Assistant Director of Corporate Relations Ann Marie Ball, Development Operations Manager Kyle Enriquez, Stewardship and Events Manager

78 JAXSYMPHONY.ORG – APRIL – MAY 2017

EDUCATION AND COMMUNITY ENGAGEMENT Kathryn Rudolph, Director of Education and Community Engagement Brian Ganan, Education and Community Engagement Manager Scott Gregg, JSYO Music Director Judith Steinmeyer, JSYO Assistant Conductor Rocky DiGeorgio, JSYO Assistant Conductor Marj Dutilly, JSYO Assistant Conductor Naira Cola, JSYO Assistant Conductor John Wieland, JSYO Assistant Conductor Peggy Toussant, JSYO Site Coordinator Kyle Wehner, JSYO Site Coordinator Jill Weisblatt, Chorus Manager Linda Holmes, Ballet Coordinator FINANCE Bill Murphy, Chief Financial Officer Mark Crosier, Senior Accountant Sydna Breazeale, Staff Accountant Eric Joseph, Receptionist MARKETING Peter Gladstone, Vice President of Marketing Amy Rankin, Director of Public Relations Scott Hawkins, Patron Services Manager Christie Helton, Marketing Manager Caroline Jones, Sales Manager Anna McGee, Digital Marketing Manager Ken Shade, Graphic Designer Pam Ferretti, Assistant Patron Services Manager Betty Byrne, Patron Services Associate Nadia Della Penta, Patron Services Associate Tara Paige, Patron Services Associate Cori Roberts, House Manager

THE

Social

Life

in a beautiful setting

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Fleet Landing has exceeded our

expectations from the excellent menu and dining venue to the communication and responsiveness of the staff. We are healthier and in the best physical shape of our lives because of the wellness/fitness program, and have expanded our interests and social circles.â&#x20AC;? â&#x20AC;&#x201D; Rev. Dr. & Mrs. C. Thomas Hilton, Retired Presbyterian Minister, Current Residents

Experience a vibrant and welcoming retirement community. Learn more by calling: (toll free) 1.877.509.8466 or (local) 904.242.6572 One Fleet Landing Boulevard | Atlantic Beach, FL 32233 | www.fleetlanding.com

Can design elevate performance? we make it certain.

Design is a means to a greater end. The best designs solve problems and create opportunities while meeting human needs. Our philosophy of mindful design embraces our clientâ&#x20AC;&#x2122;s objectives as our own. Just as an intricately designed musical instrument elevates performance, our designers lift even the smallest details into creative environments where exceptional events unfold.